Department of Music Programs 2010 - 2011 Department of Music Olivet Nazarene University
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School of Music: Performance Programs Music
2011 Department of Music Programs 2010 - 2011 Department of Music Olivet Nazarene University
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Recommended Citation Department of Music, "Department of Music Programs 2010 - 2011" (2011). School of Music: Performance Programs. 44. https://digitalcommons.olivet.edu/musi_prog/44
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Department of Music
t _ , A 2010-2011 Programs A OLIVET D e p a r t m e n t d f M u s i c Gpr NAZARENE WWW.DLtVET.EDU V UNIVERSITY Calendardf Events FALL 2D 1 □ SEPTEMBER 2010
1 2 3 4 Recital: Robert H a le .
5 6 © S 9 10 11 J u l i e DAvife. O vid Yoljng 12 13 (J) 15 16 1J7 13 Kresge Auditorium 7 p .m .
1 4 Fa c u l t y R e c i t a l : A n d e r s o n /B a l l 1 9 20 2 1 22 © 24 25 K r e s g e A u d i t o r i u m 7 p . m . 26 27 23 29 30 2 3 Piano Recital: C indy R o m a n o
k r e s g e A u d ito r iu m 7 P.M.
OCTOBER 2010
1 -2 B r o a d w a y R e v u e
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faculty r e c it a l : M c M ullian 0 6 7 3 9 K r e s g e A u d ito r iu m 12 13 14 15 16 O r c h e s t r a /C h a m b e r C o n c e r t
1 9 23 2 1 © © K r e s g e A u d i t o r i u m 7 p . m .
2 2 - 2 3 O r p h e u s Variety S h o w 26 27 23 29 33 V Kr e s g e A u d ito r iu m 7 & 9 P.M.
NOVEMBER 2010
0 0 0 -A--A- K r e s g e A u d i t o r i u m ™ ,OR*,TAL^ilGH^ 14 15 0 17 13 19 23 K r e s g e A u d i t o r i u m B E P.M .
H o n o r s R ec ita l : H a r r is 2 1 © 23 24 25 26 27 Olivet Nazarene University has long Kr e s g e A u d it o r iu m 7 p .m . enjoyed a distinguished reputation
1 1 O p e r a S c e n e s for the quality of its music program
L o c a t i o n TBA 7 p .m . and the professional preparation it affords its graduates. Young 1 3 Ve t e r a n s . C e l e b r a t io n musicians in increasing numbers C e n t e n n ia l C h a p e l 7 p .m . are realizing the advantages of 1 6 S e n i o r R e c i t a l : H a c k m a n /M il l e r earning a degree in music at a
K e l l e y P r a y e r C h a p e l 7 p . m . Christian liberal arts university such as Olivet. 2 2 C o n c e r t S in g e r s
C h a m b e r C o n c e r t To learn more about our program,
K r e s g e A u d ito r iu m visit www.olivet.edu or call us at 1-800-648-1463. DECEMBER 2 □ 1 □
1 2 © © 3-4 Handels M e s s i a h 5 6 7 3 © © 1 1 C e n t e n n ia l CHApEL 7 OLIVET 12 13 14 15 16 17 IS 9 - 1 O ' S o u n d s o f t h e S e a s o n - NAZAR.ENE 1 9 23 2 1 22 23 24 25 H o l id a y C o n c e r t * UNIVERSITY K r e s g e A u d i t o r i u m 26 27 23 29 33 31 WWW. OLIVET. EDU
* = 3 N U P r e s e n t s Ev en t
F o r m o r e information a b o u t t h e s e e v e n t s , c a l l 815-939-51 l □
CONCERTS • T □ U RS • RECITALS*AUDITIONS • PLAYS • MUSICALS B s n v t i A iNAZARENE ^kUNIVERSITY D e p artm en t o f M usic One University Avenue Bourbonnais, Illinois 60914-234 featuring
2 & a /e m jf ii/le CffiavM bass-baritone soprano
with
pianist
assisted by
Jeff Bell, conductor
VIOLINS Marlou Johnston, Rachel Jacklin, Elizabeth Peulausk ' Lauren Hoenig, Jennifer Legg, Rachel Tschetter
FLUTE-PICCOLO Katherine Benson
Tuesday, September 7,2010 7:00 pm Kresge Auditorium Larsen Fine Arts Center Proeram Invocation
Sound the Trumpet .Henry Purcell Julie Davis & Robert Hale
Four Songs Richard Strauss Nichts Op. 10, No. 2 (Hale) Die Nacht Op. 10, No. 3 (Davis) Zueignung Op. 10, No. 1 (Hale) Cacilie Op. 27, No. 2 (Davis)
Andante and Rondo Capriccioso, op. 14 Felix Mendelssohn-BartholJ Ovid Young from the Operatic Stage Don Giovanni Wolfgang Amadeus Mozart Recitative: “Orsu, non per diam tempo” Duet: “La ci darem La Mano” Ms. Davis & Mr. Hale Aria: “Mi tradi” (Donna Elvira) Ms. Davis
Das Rheingold...... Richard Wagner Aria: “Abendlicht Strahlt der Sonne Auge” (Wotan) Mr. Hale
Die tote Stadt...... Erich Wolfgang Korngold “Marietta’s Lied” Ms. Davis
Faust...... Charles Gounod Scene & Serenade:“Qu’atendezvous encore?” (Mephistopheles & Faust) Mr. Hale assisted by Reuben Lillie. ONU music major Mr. Lillie holds the 2010-11 Hale & Wilder Voice Scholarship 5-minute Intermission
Music a[ Americana
(Ride On, King Jesus African-American Spiritual - arr. Hall Johnson Ms. Davis |\mazing Grace...... Hymntune: NEW BRITAIN
*OkIahoma Medley...... Richard Rodgers “Surrey with the Fringe on Top” “People Will Say W e’re in Love” “Oklahoma!”
!*Wait for the Wagon Mountain Folk Song Ms. Davis & Mr. Hale
I*1 All the Things You Are...... Jerome Kern Ms. Davis r*All I Ask of You...... Andrew Lloyd Webber
*MEDLEY Evergreen.. Barbara Streisand I Love You...... Cole Porter Before the Parade Passes By...... Jerry Herman f PATRIOTIC MEDLEY...... Irving Berlin Give Me Your Tired , Your Poor God Bless America
* Denotes musical arrangements / orchestrations by Ovid Young., Artist-in-Residence at Olivet Nazarene University. Dr. Young, a 1962 graduate of Olivet’s Department of Music, is half of the celebrated duo-piano team of Nielson & Young with Texas pianist, Stephen Nielson. Now in their 40lh season of two-piano concerts throughout North America, Europe and Asia, Nielson & Young have been named to the International Roster of Steinway Artists — an elite list of some 1200 past and present pianists including Rachmaninoff, Horowitz, Cliburn and Billy Joel. Translations
Richard Strauss Texts
1. Nichts You say I should name her, My queen of the realm of song? What fools you are, 1 know her less than you! You ask me the color of her eyes, You ask me about the sound of her voice, You ask about her walking, dancing, carriage, - Ah, what do I know of that! Is not the sun the source O f all life, of all light? And what do we know of it, I and you and everyone? Nothing, nothing!
2. Die Nacht Night steps out of the woods, And sneaks softly out of the trees, Looks about in a wide circle, Now beware.
All the lights of this earth, All flowers, all colors It extinguishes, and steals the sheaves From the field.
It takes everything that is dear, Takes the silver from the stream, Takes away, from the cathedral’s copper roof, The gold.
The shrubs stand plundered. Draw nearer, soul to soul; Oh, 1 fear the night will also steal You from me. 3. Zueignung n, you know it, dear Soul, That, far from you, 1 languish. Love causes hearts to ache, - (To you my thanks! Once, drinking to freedom, raised the amethyst cup, nd you blessed the drink,- o you my thanks! tYou exorcised the evil spirits in it, feo that 1, as never before, pleansed and freed, sank upon your breast, To you my thanks!
Cacilie kIf you but knew what it is to dream Of burning kisses, of wandering, p f reposing with the lov'd one, p f gazing into each other's eyes, and caressing, and chatting,- If you but knew it, you would let your heart consent! f you but knew what it is to be afraid Through the lonely nights, assailed by storms, When no one soothes with gentle words the strife-weary soul,- If you but knew it, you would come to me. f you but knew what it is to live Surrounded by the world-creating breath of divinity, To soar upwards, raised and carried to sublime heights,- |f you but knew this, you would live with me.
Recitative and duet...’'la ci darem la mano" from Don Giovanni
pon Giovanni: Now, we are wasting time, this very morning I'll make you Jny wife. Zerlina: You? D: I for certain. Here in my little castle my previous treasure, we’ll live 'orever, there we will be married. DUET: D: Give me your hand my sweetheart, promise to be my wife, there we will ^hare together in a bright and happy life. Z: I would and then I waver, it may be tempting fate. My heart is in your favor, my reason tells me wait. D: Darling you must not say so. Z: I cannot leave Masetto. D: My love is so much stronger! Z: 1 can’t resist much longer! D: Come my darling, give me your hand my sweetheart. Z: 1 would, and then I waver... D: Whisper a gentle yes. Z: My heart somewhat trembles. D: Come my darling with me. Z: Oh. I cannot decide, soon I’ll resist no longer. D: Come, come! Z: I’ll come! D: Let’s go, my darling, to restore the pangs of innocent love.
Marietta’s Lied from Die tote Stadt
Joy, that near to me remains, Come to me, my true love. Night sinks into the grove. You are my light and day. Anxiously beats heart on heart; Hope itself soars heavenward.
How true, a sad song. The song of true love that must die. I know the song. 1 heart it often in younger, in better days. It has yet another verse- Do I know it still?
Though sorrow becomes dark, Come to me, my true love. Lean (to me) your pale face; Death will not separate us. If you must leave me one day, Believe, there is an afterlife. Biographies Robert Hale has blazed a career as one of the most esteemed heroic baritones of this decade, specializing in larger than-life-roles such as Wotan, leader of the gods in Richard Wagner’s Ring series and the Dutchman in The Flying Dutchman. Considered the Wagnerian bass baritone of choice in European opera houses, where he sings regularly at Vienna State Opera, London's Covent Garden, La Scala Milano, Theatre du Chatelet Paris, Munich State Opera, Deutsche Oper Berlin, The Bolshoi Moscow, and Hamburg State Opera. He returns to the United States for performances in such venues as New York’s Metropolitan Opera House, Carnegie Hall, Cleveland’s Severance Hall and the Hollywood Bowl. In addition to his opera appearances, Robert Hale performs both as recitalist and as soloist with leading orchestras around the world. He has appeared with the orchestras of Boston, Philadelphia, Cleveland, Chicago, San Francisco, New York, Washington D.C., Toronto and Montreal. In Europe, he has sung concerts with the Berlin Philharmonie, Vienna Philharmonic, Paris Radio Symphonie Orchestre, The Danish Radio Symphony Orchestra, and Amsterdam Concertgebouw Orchestra, amongst others. Festivals include Ravinia, Tanglewood, Cincinnati and Wolftrap in the USA, and Salzburg, Munich, Bregenz, Bergen, Lausanne, Bordeaux, and Ravenna in Europe.
Texas native Julie Davis, lyric soprano, enjoys an active concert and stage career, performing with regional orchestras and opera companies. Some of Ms. Davis’ concert credits include: Bernstein’s Jeremiah, Mendelssohn’s Elijah and Psalm 115, Handel’s Messiah, Faure’s Requiem, Mozart’s Vesperae de Confessore, and Beethoven’s Choral Fantasia. Most recently, Ms. Davis covered Rita Clayton in Stephen Schwartz’s 2009 world premiere of Seance on a Wet Afternoon with the Santa Barbara Opera. Other roles Ms. Davis has brought to life on stage: Rita Billingsley (A Wedding), Cleopatra (Giulio Cesare), Corinna (II viaggio a Reims), Dido (Dido and Aeneas), Susanna (Le nozze di Figaro), Giannetta (L’elisir d’amore), Amalia Balash (She Loves Me), Dew Fairy (Hansel and Gretel), Nella (Gianni Schicchi), and Suor Genovieffa (Suor Angelica). Ms. Davis graduated with her masters in Opera from the University of Oklahoma in 2008, and earned her bachelor’s degree from Baylor University, graduating with high honors from both institutions. In the last few years, Ms. Davis has taken home several honors. In 2009, she won the Naftzger Young Artist Competition, hosted by the Wichita Symphony. In 2008, she was selected as a Finalist in the Marilyn Horne Foundation Competition, and named Singer of the Year at the National Association of Teachers of Singing Conference in Oklahoma City. In 2007, Ms. Davis won first place in the MET Tulsa competition, the Benton-Schmidt Scholarship at the University of Oklahoma, and the Voice Division of the Wichita Symphony Naftzger Young Artist Competition. As a supporter of Ms. Davis, Marilyn Home selected her for several honors, including a performance at Carnegie’s Weill Hall as part of Ms. Horne’s annual song festival. Ms. Davis currently resides in Quincy, Massachusetts with her husband, Eric, and their son, Mason. Upcoming Events
Tuesday, September 14, 2010: Faculty Recital: Anderson/Ball Kresge, 7:00pm
Thursday, September 23, 2010: Piano Recital: Cindy Romano Kresge, 7:00pm
Friday-Saturday, October 1-2, 2010: Broadway Revue Kresge, 7:00 & 9:00 pm
Tuesday, October 5, 2010: Orchestra/Chamber Concert Kresge, 7:00pm
Friday-Saturday, October 22-23, 2010: Orpheus Variety Show Kresge, 7:00 & 9:00pm
Tuesday, November 2, 2010: NATS Preview Recital Kresge, 7:00 pm
Wednesday, November 3, 2010: Senior Recital: Patrick Wright Kresge, 8:00pm
Thursday, November 4, 2010: Honors Recital: Brittany Harris Kresge, 7:00pm Music at Olivet Nazarene University
The Department of Music is housed in Larsen Fine Arts Center. The Fine Arts Center was occupied on September 23, 1982, and dedicated in February, 1983. It was built at a cost of $3.5 million. Substantial updates were made during summer, 2002. Included in the building are the 504-seat Kresge Auditorium, thirteen studios, instrumental and choral rehearsal rooms, an organ practice room, three class rooms, 12-station Clavinova® piano lab, 16 station computer lab, nineteen practice rooms, a student lounge, a reception/seminar room, a conference room, and the Department of Music and Department of Art offices. A collection of recordings and scores is housed on the 2nd floor of Benner Learning Resource Center.
The Fine Arts Center was named for the late Walter Burdick Larsen and his wife, Naomi. Dr. Larsen chaired the Department of Music from 1932 until his untimely death in 1957. Naomi R. Larsen spent her teaching career of forty years at Olivet and retired in 1975. Alumni the world over are thankful for this Christ-centered couple who challenged and inspired them to become involved with music. A dream of Dr. Larsen's was realized in November, 1982, when Olivet Nazarene University became an associate member of the National Association of Schools of Music. In June, 1989, full membership was achieved.
Thank you for turning off cellular phones and for refraining from the use of flash photography. Dr. Gerald Anderson piano
Dr. Karen Ball piano
7:00pm Tuesday, Septem ber 14, 2010 Kresge Auditorium Larsen Fine Arts Center Program
Three Dance Episodes from Rodeo Aaron Copland
Buckaroo Holiday arr. Gerald Anderson
Saturday Night Waltz
Hoe-Down
Dr. Anderson, Dr. Ball - duo pianos
Aaron Copland was commissioned, along with choreographer Agnes de Mille, to write a new ballet for the Ballet Russe de Monte Carlo for its 1942-43 season. The theme of the ballet was to be life in the American west. The resulting ballet, Rodeo, was first performed in October of 1942, at the Metropolitan Opera House, New York. Copland then took four episodes from the ballet, and composed a suite for orchestra in 1943. From this work the composer arranged a setting of the suite for solo piano, completed in 1962. The form of the work for this performance was adapted for two pianos from the solo piano score in 2009. The second episode “Corral Nocturne” and second interlude “Ranch House Party” have been omitted from Copland’s original.
Throughout the work, Copland uses the flavor of American folk songs and dances, infusing a sense of optimism and energy that portrays an image of America that is inspiring.
Come, Thou Fount of Every Blessing (NETTLETON) arr. Gerald Anderson
How Firm a Foundation (FOUNDATION) arr. Gerald Anderson
Dr. Anderson, piano
Both of the hymn settings presented in this program were commissioned by the Chicago Sunday Evening Club, and performed by Dr. Anderson on their television series “Thirty Good Minutes”, broadcast on WBBM Channel 11. They are both available in book and CD form as part of a collection entitled For the Beauty oj the Earth, published by Lillenas. “Come, Thou Fount” portrays a joyful spring of water in a dry land. A plain two-part invention opens the piece, but grows into a gushing torrent as the spring overflows. After the outpouring subsides, the dry invention returns. However, one can hear the glistening droplets of water with the last chord.
“How Firm a Foundation” proclaims confidence in God’s grace as we face the challenges of life. Some of these are sudden and unexpected, “deep waters”, “fiery trials”. We need not fear, for God uses these experiences “our gold to refine”. Other issues, “old age”, are more gradual, quieter, but lose their poignancy when we realize we are still “like lambs” to our God. Even during the most difficult part of the journey, we can exclaim with the hymn writer, “I’ll never, No Never, NO NEVER forsake.” Amen
Landscapes Karen Ball
Horizons
Waters
Wind Devil
Dr. Ball, Piano
Landscapes is a piano suite of tone poems based on the poetry of the composer. The music is intended to describe the images and ideas presented in the text. The pieces are through-composed and exhibit harmonies that are chromatic and at times dissonant. Keep the poems in mind as you listen to the music.
Horizons
The horizon, shrouded in mystery, so indiscernible, so very far away,
Human nature anointed, reaching, every striving for that distant mark,
Excitement bom with each mile gained, the soul aflame with inspired thought.
When all becomes clear, that great distance breached, the eyes gazing upward see
The horizon, shrouded in mystery, ambiguity, so indiscernible, so very far away. Waters
Bountiful waters, dancing in bubbling springs and gentle streams
Majestic rivers surging relentlessly as they flow to the sea.
The ocean’s tide a magnificent power, its swirling depths a shrouded mystery.
Oh bountiful waters, the substance of life, the power of death,
Oh paradox divine.
Wind Devil
Oh hear the wind, its hollow moan,
A swirling foe with mournful drone.
Frantic it whips the trees and grass, its whirling dervish a devil’s dance.
With fury it turns and turns about, then spins away with a shriek and a shout.
Souvenir de Mount Vernon- grande valse brillante, op. 29 G. F. Bristow
Dr. Anderson, piano
George Frederick Bristow (1825-1898) was an American composer at a time when the musical culture was dominated by European style, and American music was largely ignored in favor of higher quality music from abroad. Bristow was a violinist, member of the New York Philharmonic, serving as concertmaster of that orchestra from 1850-1853. Even with that connection, he was only able to get one of his overtures played by the orchestra. He wrote five symphonies, chamber music, and an opera based on the story of Rip Van Winkle.
The “Souvenir de Mount Vernon”, written in 1861, relies heavily on the European grand waltz model. Bristow was, no doubt, familiar with the waltzes of Chopin and other composers of the time. Students of harmony could note his dramatic use of the German augmented sixth chord at the conclusion of the piece, a textbook example. At the same time, Bristow refers to Mount Vernon, an important American icon, home of George Washington. This combination of an important American reference with a highly European genre and style reflects the dilemma of American composers in the mid-19th century. It is at this time that American music first began to find its voice. Grand Galop Chromatique Franz Liszt
Dr. Ball, piano
Grand Galop chromatique, written in 1838, is a whirlwind of notes, chromaticism, and galloping rhythms. A gallop (English spelling) is a very fast dance, with dancers in a circle trotting with small jumps to imitate a gallop. This was a very popular dance in Vienna during the first half of the nineteenth century. Liszt, a virtuosic pianist, would often close his programs with this piece to the delight of his audiences. With such jovial rhythms and light-heartedness, it is difficult to play the piece with a serious countenance. It is really quite comical. Liszt even includes a measure rest, possibly to give the pianist a much needed reprieve. To most pianists, it is an accomplishment to at least hit most of the notes.
Desperate Measures (Paganini Variations) op. 48 Robert Muczvnski
Dr. Anderson, piano
Niccold Paganini was a larger than life musical personality of the 19lh rentury. His violin virtuosity was legendary. As a composer, he is known primarily for his 24 Caprices for Solo Violin, which test the capability of both instrument and performer. His most famous caprice was the last, written in A minor, cast as a theme vith 11 variations and finale. This piece was the subject of several major variation sets for piano, by Liszt, Brahms, and others. Rachmaninoff gave us the most best- known setting with his Variations for Piano and Orchestra.
Robert Muczynski was born in Chicago in 1929, and now resides in Tuscon, Arizona. He is one of the most acclaimed American composers of the post- World War II years, having written a variety of orchestral and chamber music, as veil as music for piano. Desperate Measures, composed in 1996, brings an eclectic style to this traditional theme. Like Paganini’s model, the piece is written in A ninor. The theme is followed by 12 variations. There is a distinct jazz influence hroughout the work. Variation 8 is labeled “Tango”. The octatonic scale is heard in several passages, indicating an influence of modernism. Pungent cross-relations ibound, but the tonality is never in doubt. Muczynski is evidently gleaning from the ;ounds of his youth, growing up in Chicago, in a culture mixing jazz, Hispanic influence, and modernist thinking. The result is a wonderful example o f music that s aware of European style, but unabashedly American. Be Still My Soul (SCHELGEL, SIBELIUS) arr. Karen Ball
Joyful, Joyful, We Adore Thee (VAN DYKE, BEETHOVEN) arr. Karen Ball Dr. Ball, piano
Be Still My Soul and Joyful, Joyful, We Adore Thee are two beloved hymns of the church. The original settings of these hymns are quite contrasting in mood, a reflection of the versatility that can be achieved in arranging. Joyful, Joyful, along with nine other hymn settings, is published by Lillenus Publishing. The book and accompanying CD are entitled Fount of Every Blessing. Be Still My Soul is soon to be released on a new CD performed by Dr. Ball for the Olivet Presents Series.
Suite no. 2 for Two Pianos, Four Hands op. 17 Serge Rachmaninoff
Introduction
Romance
Tarantella
Dr. Anderson, Dr. Ball - duo pianos
Suite No. 2, Op. 17 for two pianos was com posed in 1901 in Italy. It follows a long period of silence from the composer due to depression. After the failure of Rachmaninoffs first symphony, he lost confidence in his writing ability. Composing at a time when composition was taking a course away from Romanticism into Neo-Classicism and Dodecaphonic Serialism, his music was thought to be irrelevant to the Twentieth Century, even though it remained popular with audiences world-wide. Creativity returned in 1901, and in November of that year, the premiere of this suite was played by the composer and his cousin, Alexander Siloti. The pieces manifest Rachmaninoffs talent for harmonic color, lush and powerful sound, and rhythmic vitality. The formal structure of the piece is in traditional four movement form (three of which are being performed tonight) with each movement embracing a specific character: Introduction (Alla Marcia), Valse, Romance, and Tarantelle. Rachmaninoffs works were rediscovered in the 1970’s, and many of his finest compositions have been resurrected. Upcoming Events
Thursday, September 23, 2010: Piano Recital: Cindy Romano Kresge, 7:00pm
Friday-Saturday, October 1-2, 2010: Broadway Revue Kresge, 7:00 & 9:00 pm
Tuesday, October 5, 2010: Orchestra/Chamber Concert Kresge, 7:00pm
Friday-Saturday, October 22-23, 2010: Orpheus Variety Show Kresge, 7:00 & 9:00pm
Tuesday, November 2, 2010: NATS Preview Recital Kresge. 7:00 pm
Wednesday, November 3, 2010: Senior Recital: Patrick Wright Kresge, 8:00pm
Thursday, November 4, 2010: Honors Recital: Brittany Harris Kresge, 7:00pm jV I Department of Music \f | UNIVERSITY
Cindy Romano piano
f&>*d> C&>
7:00 pm Thursday, September 23, 2010 Kresge Auditorium Larsen Fine Arts Center Program
Invocation
Toccata in G Major, BWV 916 Johann Sebastian Bach (1685-1750)
1. A llegro 2. Adagio 3. Allegro e presto
Rondo in A M inor, KV 511 Wolfgang Amadeus Mozart (1756-1791)
Preludes, Op. 28 Frederic Chopin (1810-1849)
1. C M ajor A gitato 2. A M inor Lento 3. G M ajor V ivace 4. E M inor Largo 5. D M ajor Allegro Molto 6. B M inor Lento Assai 7. A M ajor A ndantino 8. F-sharp M inor Molto Agitato 9. E M ajor Largo 10. C-sharp Minor Allegro molto 11. B M ajor Vivace 12. G -sharp Minor Presto 13. F-sharp M ajor Lento 14. E-flat M inor Allegro 15. D-flat M ajor Sostenuto (“Raindrop”) 16. B-flat M inor Presto con fuoco 17. A -flat M ajor Allegretto 18. F M inor Allegro Molto 19. E-flat M ajor Vivace 20. C Minor Largo 21. B-flat Major C antabile 22. G Minor Molto Agitato 23. F M ajor M oderato 24. D Minor Allegro Appassionato Artist Biography
Cindy Spring Romano is a 1985 graduate of Olivet, where she studied piano with Dr. Gerald Anderson. She earned the Master of Arts degree in Piano Pedagogy and Performance from Western Illinois University in 1987. She is currently a private piano teacher and United Methodist organist in Noblesville, Indiana. This recital is to be presented at Ball State University on October 2, 2010 as the first recital requirement in the D.A. program of study. Cindy is a piano performance major with a secondary emphasis in organ at Ball State, where she studies with Dr. Robert Palmer. Cindy and her husband, Greg, have three children: Jonathan, 17, Hayley, 14, and K ristin, 8.
Upcoming Events
Friday-Saturday, October 1-2, 2010: Broadway Revue* Kresge, 7:00 & 9:00 pm
Tuesday, October 5, 2010: Orchestra/Chamber Concert Kresge, 7:00 pm
Friday-Saturday, October 22-23, 2010: Orpheus Variety Show* Kresge, 7:00 & 9:00 pm
Tuesday, November 2, 2010: NATS Preview Recital Kresge, 7:00 pm
Wednesday. November 3, 2010: Senior Recital: Patrick Wright Kresge, 8:00 pm
Thursday, November 4, 2010: Flonors Recital: Brittany Harris Kresge, 7:00 pm
Thursday, November 11, 2010: Opera Scenes- Cenerentola TBA, 7:00 pm
Saturday, November 13, 2010: Veteran’s Celebration* Centennial Chapel, 7:00 pm
*There is an admission fee for this event.
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music N A Z A R E N E r UNIVERSITY
Dr. Neal Woodruff, conductor
7:00 p.m. Tuesday, October 5, 2010 The Quad PROGRAM Invocation
The Pink Panther Henry Mancini; arr. Arthur Frackenpohl Saxophone Ensemble Kristin Cheney, Desmond Handson, Ian Smith, Jon Erdahl, Jeremy Schooler, Angela Reedy, Margaret O'Neill, Renee Runyan
American Salute: “When Johnny Comes Marching Home” Morton Gould
Musical Highlights from “Rocky” arr. Robert Lowden Gonna Fly Now; Going the Distance; Philadelphia Morning You Take My Heart Away; Fanfare for Rocky
Buckaroo Holiday (from Rodeo) Aaron Copland
Cruella de Ville (from 101 Dalmatians) arr. AD Reedy (‘11) Saxophone Ensemble
Aschenbrodel-Overture Johann Strauss, Jr.
The Prince of Egypt Stephen Schwartz; arr. Charles Sayre
“The Empire Strikes Back” Medley John Williams; arr. John Whitney Star Wars; May the Force Be With You; Han Solo and the Princess Yoda’s Theme; The Imperial March
Hoe-Down (from Rodeo) Aaron Copland
Thank you for turning off cell phones and for not using flash photography University Orchestra Dr. Neal Woodruff, conductor
Flute/Piccolo Trombone Violin II Rachel Von Arb lan Matthews Emily Borger Diane Rankin Lauren Hausken Christine Caven Marijke Bakker Paul Drace Caitlin Mills Desiree Hays Oboe Tuba Emily Younglove Kristen Kehl Alex Kellogg Jordan Cramer Katelynn Dunkman Tika Anderson Joy Matthews Timpani Lauren Brennan Mike Zaring Emily Sprik English Plom Lindsey Ramirez Katelynn Dunkman Percussion Madelyn Lorenz Melody Abbott Bethany Rush Clarinet Austin Lappe Sarah Jensen Emily Martin Bryce Parker Emily Ohse Elise Payne Kayla Younglove Harp Claire Dana Bassoon Rachel Fisher Alyssa Alt Ashley Pitzer Cambria Thomas Brianna Robins Emily Heinz Viola Tianna Frey Florn Piano Jennifer White Brittany Harris Josh Ring Zach Thomas Rebeckah Stems Katie Hanley Kyle Miller Violin 1 Crystal Hauri Elisabeth Peulausk* Jacklyn Rose Lauren Hoenig Jennifer Legg T rumoet Chantalle Falconer Raemarie Donaldson Rachel Tschetter Merrick Robison Amanda Winkle Patrick Wright Jessica Brown Rebecca Walker Lauren Beatty Amanda Luby •Cello Bass Allison Richmond Sara Marrs Brian Kosek Tony Jacobs Andrew Nielson Jesse Dillman Elisabeth Holoway Jennifer Wilkerson Erin Evans Nick Holden Katelyn Flynn Ben Garcia *Concertmaster Sarah DiLeonardo Ben Miller Heidi Watson
Upcoming Events Friday-Saturday, October 22-23, 2010: Orpheus Variety Show* Kresge, 7:00 & 9:00 pm
Tuesday, November 2. 2010: NATS Preview Recital Kresge, 7:00 pm
Wednesday, November 3, 2010: Senior Recital: Patrick Wright Kresge, 8:00 pm
Thursday, November 4, 2010: Honors Recital: Brittany Harris Kresge, 7:00 pm
Saturday, November 13, 2010: Veteran’s Celebration* Centennial Chapel, 7:00 pm
* There is an admission fee for this event.
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu A. I OLIVET Department of Music \W\ N A ZA K EN E V UNIVERSITY
Music Department Homecomin
4:00 PM Saturday, October 30, 2010 Kresge Auditorium Larsen Fine Arts Center PROGRAM
Invocation
The Prince of Egypt S. Schwartz; arr. C. Sayre Deliver Us Through Heaven’s Eyes When You Believe University Orchestra
Titus Overture (from La Clemeza di Tito) W.A. Mozart arr. Jensen Saxophone Ensemble
Fergus an’ Molly V. Singh Jonah R. Dillworth Your Grace Still Amazes Me S. Craig & C. Harrington Testament Men’s Choir
Three Hungarian Folk Songs Matyas Seiber/English text by AL Lloyd 1. The Handsome Butcher 2. Apple, Apple 3. The Old Woman I Will Rejoice arr. T. Fettke Concert Singers
Omi George Duke Jazz Combo II T-Jam George Duke Jazz Combo I Autumn Leaves J. Mercer, J. Prevert & J. Kosma arr. A. Reed Nothing but the Blood Medley arr. C. Kirkland Close to Thee F. J. Crosby & S.J. Vail arr. O. Young Andrea Richardson, piano Chrysalis Women’s Choir
Rejoice in the Lord 16th Century English Amazing Love D. Rasbach Andrea Richardson, piano O Mighty Cross D. Baroni & J. Chisum Orpheus Choir
University Orchestra - Dr. Neal Woodruff, conductor Chrysalis Women’s Choir - Prof. Kay Welch, conductor Testament Men’s Choir - Prof. Ryan Schultz, conductor Orpheus Choir - Dr. Jeff Bell, conductor Jazz Combo- Prof. Freddie Franken, director
Thank you for turning off cellular phones and for refraining from the use offlash photography The Music Department of Olivet Nazarene University has a long history of excellence in education and performance. Students interested in majoring in music may choose from several options including Music Education, Church Music, Composition and Theory. Music Performance, and Music (General). All programs are accredited by the National Association of Schools of Music. Scholarships are available to incoming students by audition. To learn more about what is offered by Olivet’s Music Department visit us at www.music.olivet.edu.
Upcoming Events
Tuesday, November 2, 2010: NATS Preview Recital 7:00 PM- Kresge Auditorium
Wednesday, November 3, 2010: Senior Recital: Patrick Wright 8:00 PM- Kresge Auditorium
Thursday, November 4, 2010: Student Recital: Brittany Harris 7:00 PM- Kresge Auditorium
Tuesday, November, 16, 2010: Senior Recital: Jase Hackman & Nicole Miller 7:00 PM- Kelley Prayer Chapel
Monday, November 22, 2010: Concert Singers/ Chamber Concert 7:00 PM- Kresge Auditorium
Friday- Saturday, December 3-4, 2010: Handel’s Messiah 7:00 PM- Centennial Chapel
Thursday-Friday, December 9-10, 2010: Sounds of the Season Holiday Concert 7:00 PM- Kresge Auditorium
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY
7:00 p.m. Tuesday, November 2, 2010 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation
Le Charme Ernest Chausson Nicole Miller, mezzo-soprano Dr. Gerald Anderson, piano
There Was a Knight, Once (from Little Women) M ark Adam o Reuben Lillie, baritone Dr. Karen Ball, piano
The Beauty Is (from The Light in the Piazza) Adam Guettel Calley Seefeldt, soprano Andrea Richardson, piano
If I Can’t Love Her (from Beauty and the Beast) Alan Menken Blake Reddick, baritone Luke Olney, piano
Vittoria, Mio Core! Giacomo Carissimi Gwen Holmes, soprano Ben Cherney, piano
W . A. M ozartUbriaco non son io (from La Finta Semplice) W. A. M ozartUbriaco Paul Drace, baritone Dr. Karen Ball, piano
Someone Like You (from Jekyll dt Hyde) Frank Wildhorn Alyssa Norden, soprano Andrea Richardson, piano
Per la gloria d’adorarvi (from G riselda) G. B. Bononcini Seth Lowery, tenor Chris LeFevre, piano
Unexpected Song (from Song and Dance) Andrew Lloyd Weber Samantha Starner, mezzo-soprano Kate Hausken, piano
Plaisir d'amour J. P. M artini Jase Hackman, bass Elizabeth Morley, piano
All the Things You Are (from Very Warm for May) Jerome Kern Ashley Raffauf, soprano Andrea Richardson, piano The Call Ralph Vaughan Williams David Rice, baritone Dr. Jeff Bell, piano
He Wasn’t You (On a Clear Day You Can See Forever) Burton Lane Hillary Vaughn, alto Elizabeth Morley, piano
Now Sleeps the Crimson Petal Roger Quilter Wesley Taylor, tenor Luke Olney, piano
Hate Music (from I Hate Music) Leonard Bernstein Ali Carter, soprano Dr. Karen Ball, piano
Amarilli, mia bella Giulio Caccini Ben Geeding, tenor Ben Chemey, piano
The Green Dog Herbert Kingsley Christine Caven, soprano Elizabeth Morley, piano
Once Upon a Time (from All American) Charles Strouse Tony Allen, baritone Ben Chemey, piano
She Was There (from The Scarlet Pimpernel) Frank Wildhorn Merrick Robison, tenor Elizabeth Morley, piano
The National Association of Teachers of Singing, Inc.
Mission Statement: To encourage the highest standards of the vocal art and of ethical principles in the teaching of singing; and to promote vocal education and research at all levels, both for the enrichment of the general public and for the professional advancement of the talented.
The National Association of Teachers of Singing, Inc (NATS) was founded in 1944 and is now the largest association of teachers of singing in the world. Today NATS boasts more than 6,500 members in the United States, Canada, and over twenty-five other countries around the world, including Australia, Austria, Brazil, China, Costa Rica, Denmark, Egypt, France, Germany, Iceland, Italy, Japan, Jordan, Korea, Malaysia, Mexico, Netherlands, New Zealand, Singapore, South Africa, South Korea, Spain, Switzerland, Taiwan, United Arab Emirates, and the United Kingdom, and the number of countries represented is growing every year.
Driven by its mission statement, NATS offers a variety of lifelong learning experiences to its members, such as workshops, intern programs, master classes, and conferences, all beginning at the chapter level and progressing to national events. Students of NATS members have access to one of the organization's most widely recognized activities: Student Auditions. They also have the opportunity, along with members, to compete at a national level through the National Association of Teachers of Singing Artist Awards (NATSAA). For information on these and other events and competitions for NATS members and their students go to Programs, Events, and Competitions.
NATS also supports the growth and enrichment of its members through the publication of The Journal of Singing, a scholarly journal comprised of articles on all aspects of singing and the teaching of singing, written by distinguished scholars in their fields. Upcoming Events
Wednesday, November 3- Senior Recital: Patrick Wright 8:00pm- Kresge Auditorium
Thursday, November 4- Recital: Brittany Harris 7:00pm- Kresge Auditorium
Saturday, November 13- Veteran’s Celebration* 7:00pm- Centennial Chapel
Tuesday, November 16- Senior Recital: Hackman/Miller 7:00pm- Kelley Prayer Chapel
Monday, November 22- Concert Singers/ Chamber Concert 7:00pm- Kresge Auditorium
Friday-Saturday, December 3-4- M essiah Performance 7:00pm- Centennial Chapel
Thursday- Friday, December 9-10- Sounds of the Season* 7:00pm- Kresge Auditorium
*These events require a ticket.
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY
Patrick Wright trumpet
featuring Rachel Fisher, harp Ashley Pitzer, bassoon
°«dS <*
8:00 p.m. Wednesday, November 3, 2010 Kresge Auditorium Larsen Fine Arts Center PROGRAM lvocation ntrada for Trumpet in C and Piano Arthur Honegger Mr. Wright, trumpet Dr. Gerald Anderson, piano Honegger was bom in a Swiss colony in Le Havre, France. To avoid the persecutions in most of Europe during his life, Honegger spent most of his adult life in Paris, joining the French Revolution, but not having much involvement with the Nazis. While other French :omposers scoffed at the new style of German romanticism brought about by Brahms and Mahler, Honegger embraced it. This piece was originally written as an end-of-term exam at the Paris Conservatory for the trumpet studio. It was never intended to become a part of regular trumpet repertoire, but it has caught on as one of the most called for pieces for major Symphony Orchestra auditions. It is often called upon because it exploits the full range of the trumpet, from Low G to High C, and also the full gamut of tonal colors, articulations, and styles. It asks a lot of the performer, and is considered one of the more difficult pieces of the modem standard repertoire. Footprints Wayne Shorter Mr. Wright, trumpet ONU Jazz Com bo II Wayne Shorter was one of the most important jazz saxophonists of the 60s and 70s. Shorter won numerous Grammys, both as a band leader, and as a member of Art Blakely’s Jazz Messengers and Miles Davis’ quintet, where he replaced John Coltrane. Footprints was a tune that Shorter wrote while a member of Miles’ band. When asked about Shorter as a composer, Miles is quoted as saying "Wayne is a real composer. He writes scores, write the parts for everybody just as he wants them to sound... Wayne also brought in a kind of curiosity about working with musical rules. If they didn't work, then he broke them, but with musical sense; he understood that freedom in music was the ability to know the rules in order to bend them to your own satisfaction and taste."
M. Glinka The Hollow Men Vincent Persichetti Mr. Wright, trumpet Members of the University Orchestra Persichetti was bom and raised in Philadelphia. His earliest influences included Bartok, Stravinsky, Hindemith, and Copeland. By age 20, he was professor of Theory and Composition at his Alma Mater, and studying conducting with Fritz Reiner, principal conductor of the Chicago Symphony Orchestra. The Hollow Men was written to parallel the moods of T.S. Eliot’s poem of the same name. Mr Wright invites you to read along as he performs the piece. I We are the hollow men We are the stuffed men Leaning together Headpiece filled with straw. Alas! Our dried voices, when We whisper together Are quiet and meaningless As wind in dry grass Or rats’ feet over broken glass In our dry cellar Shape without form, shade without colour, Paralysed force, gesture without motion; Those who have crossed With direct eyes, to death’s other Kingdom Remember us— if at all—not as lost Violent souls, but only As the hollow men The stuffed men.
II Eyes I dare not meet in dreams In death’s dream kingdom These do not appear: There, the eyes are Sunlight on a broken column There, is a tree swinging And voices are In the wind’s singing More distant and more solemn Than a fading star. Let me be no nearer In death’s dream kingdom Let me also wear Such deliberate disguises Rat’s coat, crowskin, crossed staves In a field Behaving as the wind behaves No nearer— Not that final meeting In the twilight kingdom
III This is the dead land This is cactus land Here the stone images Are raised, here they receive The supplication of a dead man’s hand Under the twinkle of a fading star. Is it like this In death’s other kingdom Waking alone At the hour when we are Trembling with tenderness Lips that would kiss Form prayers to broken stone.
IV The eyes are not here There are no eyes here In this valley o f dying stars In this hollow valley This broken jaw of our lost kingdoms In this last of meeting places We grope together And avoid speech Gathered on this beach of the tumid river Sightless, unless The eyes reappear As the perpetual star Multifoliate rose Of death’s twilight kingdom The hope only O f empty men. V
Here we go round the prickly pear Prickly pear prickly pear Here we go round the prickly pear At five o 'clock in the morning. Between the idea And the reality Between the motion And the act Falls the Shadow For Thine is the Kingdom Between the conception And the creation Between the emotion And the response Falls the Shadow Life is very long Between the desire And the spasm Between the potency And the existence Between the essence And the descent Falls the Shadow For Thine is the Kingdom For Thine is Life is For Thine is the This is the way the world ends This is the way the world ends This is the way the world ends Not with a bang but a whimper.
Speak Low Kurt Weill Mr. Wright, flugelhom Prof. Freddie Franken, guitar
Kurt Weill wrote this song for the 1943 Broadway Musical “A Touch of Venus”. It was originally recorded vocally, with lyrics by Ogden Nash, and has been recorded vocally by dozens of famous singers, including Barbara Streisand and Sarah Vaughan. Over time, it has become a jazz standard for instrumentalists, as well, such as Bill Evans and Roy Hargrove. Bassoon Concerto C.M. von Weber I. Adagio II. Rondo Ashley Pitzer, bassoon
Sonata for Trumpet and Piano Eric Ewazen I. Lento / Allegro Molto II. Allegretto III. Allegro con Fuoco Mr. Wright, trumpet Dr. Gerald Anderson, piano
Eric Ewazen was bom and raised in Cleveland. He studied at both Julliard and the Eastman School of Music, earning many awards, competitions, prizes, and fellowships during his time. Ewazen studied under Milton Babbitt, Samuel Adler, and Jospeh Schwantner. He has served on the faculty of Julliard for 30 years, now.
Ewazen’s Sonata finds itself somewhat removed from the typical American trumpet Sonata. While sonatas like those of Hindemith, Kerman, and Stevens find their modernity in complex changes in meter, odd harmonies, and angular melodic lines, Ewazen’s Sonata is more traditional in those senses. Throughout the first movement, the melodic lines are easy to follow, tonally solid, and rhythmically simple, without ever coming off as predictable or stale. There is a lyricism to the melodic lines which is absent from most modem music, and is certainly welcome. The second movement has some lines reminiscent of Celtic themes, and is more of a duet between Trumpet and Piano, rather than Trumpet solo with Piano accompaniment. The third movement introduces Ewazen’s take on the typical American ideas of a trumpet Sonata, with angular lines, rhythmic complexity, and a spectacularly exciting finish where both musicians push one another onward to an exciting conclusion.
Mr. Wright presents this recital in partial fulfillment of the requirement for the Bachelor of Music degree in Performance. He is the trumpet student of Prof. Brian Reichenbach.
hank you for silencing cell phones and for not using flash photography Upcoming Events
Thursday, November 4 Recital: Brittany Harris 7:00pm- Kresge Auditorium
Saturday, November 13 Veteran’s Celebration* 7:00pm- Centennial Chapel
Monday, November 15, 2010 Senior Recital: Donaldson/Lillie 7:00pm- Location TBA
Tuesday, November 16 Senior Recital: Hackman/Miller 7:00pm- Kelley Prayer Chapel
Monday, November 22 Concert Singers/ Chamber Concert 7:00pm- Kresge Auditorium
Friday-Saturday, December 3-4 Messiah Performance 7:00pm- Centennial Chapel
Thursday- Friday, December 9-10 Sounds of the Season* 7:00pm- Kresge Auditorium
*These events require a ticket.
OLIVET Department of Music NAZARENE r UNIVERSITY
STUDENT RECITAL Brittany Harris, horn featuring Angela Reedy, saxophone Emily Martin, clarinet Jacqueline Rose, horn Rebeckah Stems, hom Stephanie Moore, hom Ali Carter, soprano Dr. Gerald Anderson, piano Dr. Karen Ball, piano Luke Olney, piano Josh Ring, piano
7:00pm Thursday, November 4, 2010 Kresge Auditorium Larsen Fine Arts Center Program
Invocation
Concerto No. 2 for Horn W.A. Mozart I. Allegro maestoso II. Andante III. Rondo Ms. Harris, horn Josh Ring, piano
Savior, Like A Shepherd Lead Us D. Smith Angela Reedy, saxophone Dr. Karen Ball, piano
Laudatio Bernhard Krol Brittany Harris, horn
Clarinet Concerto in A Major W.A. Mozarf I. Allegro Emily Martin, clarinet Dr. Gerald Anderson, piano
Sonata for Four Horns Paul Hindemitli I. Fugato II. Lebhaft Jacqueline Rose, Rebeckah Stems, Stephanie Moore, Brittany Harris, horn
“A Change in Me” (from Beauty and the Beast) Tim Rice & Alan Menken Ali Carter, Soprano Luke Olney, Piano
Thema Und Variationen Franz Straus^ Brittany Harris, hom Josh Ring, piano
Thank you for turning off cellular phones and for refraining from the use of flash photography. MOZART Mozart’s Concerto No. 2 for horn (which was actually the first completed hom concerto) was written for a close friend of his, Joseph Ignaz Leutgeb. Leutgeb was principal horn in Saltzburg where Mozart grew up, and many of the hom parts in Mozart’s early symphonies were written with Leutgeb in mind. Although they had a lighthearted friendship, Mozart must have thought very highly of his friend’s playing abilities as all four hom concertos demand a great deal from the player. The concerto is written in the usual three movement format. The first movement contains broad melodies that suit the rich tone of the hom. It demands a great deal of breath control and great agility from the soloist. The second movement is a lyrical and sustained melody that moves between the orchestra and the soloist. The third and final movement is a lively rondo that places the horn in its most natural setting - the hunt.
KROL Bernhard Krol is a German composer born in 1920. His works use the tonal system and many times look back to the styles of Paul Hindemith and Max Reger. As a hom player, his compositions are well suited to show the abilities and the great sound of the hom. Laudation, an unaccompanied hom solo, is a very expressive piece. The main theme is stated in the opening and is weaved throughout the piece between the contrasting sections. The piece creates tension as it builds to the climax but is quickly brought back to a quiet end.
HINDEMITH German-born Paul Hindemith was a composer who began studying composition at the age of fourteen. His music is tonal, but non-diatonic, moves in and out of keys, and creates much dissonance which later resolves. Hindemith was one of the leaders in writing “music for use,” which is music that has specific musicians or a specific purpose in mind. His Sonata for Four Homs was written for the Salzburg hornists, who once greeted Hindemith early in the morning with a horn call. The first movement, Fugato, is written in a typical fugue fashion. It opens with a single horn and later adds each hom, building to a large climax and then resolving in an open fifth. The second movement has two themes, one new and one similar to the subject of the fugue. The themes are passed throughout each part, creating a dialogue between the players. The movement is dance-like and has many metric subtleties which make the movement flowing and expressive. STRAUSS Franz Strauss, father of Richard Strauss and son to Johann Strauss, was an accomplished composer and musician. He was most well-known for his talent of playing horn (he is considered one of the greatest homists of his time) and the pieces he wrote for the horn. Because of his knowledge of the instrument, his horn solos demonstrate many capabilities of the instrument and provide a challenge for the performer, as the pieces are often quite demanding. This theme and variation piece is no exception, as it insists on a great deal of technique.
Upcoming Events Saturday, November 13 Veteran’s Celebration* 7:00pm- Centennial Chapel
Monday, November 15, 2010 Senior Recital: Donaldson/Lillie 7:00pm- Location TBA
Tuesday, N ovem ber 16 Senior Recital: Hackman/Miller 7:00pm- Kelley Prayer Chapel
Monday, November 22 Concert Singers/ Chamber Concert 7:00pm- Kresge Auditorium
Friday-Saturday, December 3-4 M essiah Performance 7:00pm- Centennial Chapel
Thursday- Friday, December 9-10 Sounds of the Season* 7:00pm- Kresge Auditorium
*These events require a ticket
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY
Orpheus Choir A Ministry in Music
Dr. Jeff Bell, conductor
2010 Fall Tour
Christ’s Community Church of the Nazarene New Albany, IN Castleton Church of the Nazarene Indianapolis, IN First Church of the Nazarene Indianapolis, IN First Church of the Nazarene Kokomo, IN PROGRAM SELECTED FROM: A Mighty Fortress is Our God Luther; arr. Mueller Alma Mater B. Carmony Amazing Love! D. Rasbach Be Ye Glad arr. B. Greer Great Is Thy Faithfulness arr. J. Rouse How Deep the Father’s Love arr. J. Bell I’m Gonna Sing ‘til the Spirit Moves in My Heart M. Hogan Laudate R. Clausen Let Your Glory Fall arr. J. Rouse O, Mighty Cross arr. T. Fettke Prayer R. Clausen Rejoice in the Lord 16th Century English SAUL E. Hovland Song of Praise K. Nystedt The Lord Bless You and Keep You P. Lutkin The Star Spangled Banner arr. R. McKelvy
Three recordings of Orpheus Choir are available: A Mighty Fortress Great Is Thy Faithfulness Love Came Gently PERSONNEL
SOPRANO ALTO Laura Bruns Watseka, IL Amanda Cook Aurora, IL Ali Carter* Bourbonnais, IL Libby Devine Elgin, IL Christine Caven Boise, ID Emily Dillard Galesburg, IL Lindsay Close Flushing, MI Laura Fleschner Terre Haute, IN Andrea Dunahee Gibson City, IL Lillian Guenseth Galesburg, IL Taylin Frame Centreville, VA Lindsey Hayes Galesburg, IL Gwen Holmes Princeton, IL Rebekah Hazen Pekin, IL Laura M'Cague* New Lenox, IL Alii Hill Quincy, IL Megan Radcliffe Charleston, Wv Megan Huntsman Portland, IN Ashley Raffauf Homewood, IL Cindy Jackson* Herscher, IL Anna Reed Huntington, IN Stephanie Johnson Madison, WI Rebecca Rodeheaver San Diego, CA Andrea LaMontagne Kankakee, IL Michelle Towle Waterville, VT Rebecca Lowery Kankakee, IL Sarah Ward Wheaton, IL Audrey Mikhail Joplin, MO Alicia Williams Tecumseh, MI Elizabeth Morley Valparaiso, IN Kate Wilson Daleville, IN Taylor Recker New Lenox, IL Samantha Starner* Chandler, AZ Hillary Vaughn Kankakee, IL BASS Heather Willoughby* Elkhart, IN Anthony Allen Bourbonnais, IL Jake Boss Tinley Park, IL Ben Cherney* Escanaba, MI TENOR Paul Drace Black River Falls, WI Ben Baker Evansville, IN Neil Frazer Spooner, WI Caleb Carr Orangeville, IL Ben Geeding Manteno, IL Cameron Dunlop* Huntington. IN Jase Hackman Manhattan, IL Kyle Hance Carthage, MO Keegan Hurt Kalamazoo, MI Matthew Kee Yorkville, IL Chris LeFevre Ashton, IL Seth Lowery Kankakee, IL Reuben Lillie Greenville, PA Merrick Robison Marion, 1A Seth Means Honey Creek, IA Brad Sytsma Grand Rapids. Ml Andrew Moore Hastings, MI Wesley Taylor Joliet, IL Ian Morley Valparaiso, IN Jason Walker Minneola, KS Brad Palmer Franklin, IN Nate Waller* Oblong, IL Joel Ramirez* Cicero, IL David Rice Traverse City, MI ACCOMPANIST Ryan Shrout Jacksonville, FL Andrea Richardson Bloomington, IL
* Officer ORPHEUS CHOIR
Orpheus Choir, now in its eighth decade of annual performances, represents Olivet in concerts on the university’s educational region (Illinois, Indiana, Michigan, and Wisconsin), and has sung at many general assemblies of the Church of the Nazarene. The choir was founded by Prof. Walter B. Larsen in 1932. Prof. Naomi Larsen, led the choir after her husband’s passing in 1957, conducting until 1972. Dr. D. George Dunbar served as conductor of Orpheus from 1972 until retiring in 1999. Appointed conductor of Orpheus Choir in 1999, Dr. Jeff Bell serves as Professor of Music at Olivet, where he earned an undergraduate degree in Music Education in 1981. He also earned the M.Mus. degree from the University of Illinois in 1983, and the Doctor of Arts degree from Ball State University in 1996. Orpheus Choir has appeared in concerts across the nation, as well as Canada, Mexico, and Israel. It has performed twice at the National Cathedral in Washington, D.C., and three times at the U.S. Air Force Academy in Colorado. Orpheus Choir was selected to sing at two national Music Educators National Conference conventions in California, and has sung at the Illinois Music Education Association convention. The choir also represented Olivet at the annual Praise Gathering in Indianapolis from 1978 to 2005. The repertoire of this select group of singers includes anthems, hymns, spirituals, and contemporary compositions, representing different styles and periods of choral music. To learn more about what is offered by Olivet’s Music Department visit us at www.music.olivet.edu.
OLIVET NAZARENE UNIVERSITY "Education With a Christian Purpose." Since 1907, Olivet Nazarene University has made this more than a motto, but a mission. At Olivet, considered one of the nation's premier Christian colleges, faith is at the heart of superior academics, athletics, social atmosphere and ministry opportunities.
Here students not only learn how to make a living, they learn how to live. Since Olivet's founding, more than 20.000 degrees have been granted to graduating students. Whether their chosen fields are in medicine, business, education, ministry, or a myriad of other professions, Olivetians make a difference in the world for Christ and His kingdom. At Olivet, ambitious dreams meet uncommon opportunity.
One University Avenue, Bourbonnais, 1L 60914 1-800-648-1463 [email protected]
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu A. OLIVET D epartm ent of M usic »W NAZARENE r "r I UNIVERSITY
9:30 a.m. N ovember 15, 2010 College Church of the Nazarene PROGRAM
Invocation
Etude in E Major, Op. 10, No. 3 F. Chopin Chris LeFevre, piano
Someone else’s Story (from Chess) Anderson, Rice, & Ulvaeus Megan Huntsman, alto Andrea Richardson, piano
Sonata in G Minor J.S. Bach Allegro Diane Rankin, flute Desiree Hays, piano
This Little Rose W. Roy Bailey Zeilenga, soprano Chris LeFevre, piano UPCOMING EVENTS:
Monday, November 15 Senior Recital: Donaldson/Lillie 7:00pm- College Church
Tuesday, November 16 Senior Recital: Hackman/Miller 7:00pm- Kelley Prayer Chapel
Monday, November 22 Concert Singers/ Chamber Concert 7:00pm- Kresge Auditorium
Monday, November 29 Music Dept. Student Recital 9:30am- Kresge Auditorium
Saturday, December 4 Messiah Performance 7:00pm- Centennial Chapel
Monday, December 6 Music Dept. Student Recital 9:30am- Kresge Auditorium
Thursday- Friday, December 9-10 Sounds of the Season* 7:00pm- Kresge Auditorium
* Admission charge
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY
JUNIOR RECITAL RaeMarie Donaldson trumpet SENIOR RECITAL Reuben Lillie baritone
with Dr. Gerald Anderson, piano Dr. Karen Ball, piano Dr. Jeff Bell, piano Miss Emily Martin, clarinet
7:00 pm Monday, Novem ber 15, 2010 College Church of the Nazarene PROGRAM Invocation
Dei Pezzi caratteristici (from Musique Anodine) G. RossirJ No. II No. VI
Quoniam tu solus sanctus (from Petite Messe Solennelle) G. R ossii| Mr. Lillie, baritone Dr. Gerald Anderson, piano
Largo al factotum (from II Barbiere di Siviglia) G. Rossiril Mr. Lillie, baritone Dr. Karen Ball, piano
Masks Dana Wilson Miss Donaldson, trumpet Dr. Gerald Anderson, piano
Lieben, hassen, hoffen, zagen (from Aridane auf Naxos) R. StrausJ Mr. Lillie, baritone Dr. Karen Ball, piano
Six German Songs, Op. 103 L. Spohr I. Sei still mein Herz II. Zwiegesang III. Sehnsucht Mr. Lillie, baritone Dr. Gerald Anderson, piano Miss Emily Martin, clarinet
Vocalise C. Pedrell Vocalise J. Canteloube Miss Donaldson, trumpet Dr. Gerald Anderson, piano
Six Poemes de Guillaume Apollinaire A. Honegger A la ",Sante ” Clotilde Automne Saltimbanques L ’Adieu Les Cloches O vin, dissipe la tristesse (from Hamlet) A. Thom as Mr. Lillie, baritone Dr. Karen Ball, piano
Calls and Echoes Verne Reynolds Miss Donaldson, trumpet Prof. Reichenbach, trumpet
Three Salt-Water Ballads F. Keel Port o f Many Ships Trade Winds Mother Carey
Four Salt-Water Ballads F. Keel Hell's Pavement A Wanderer’s Song A Sailor's Prayer Cape Horn Gospel (Bill the Seaman) Mr. Lillie, baritone Dr. Jeff Bell, piano
There was a knight, once (from Little Women) M. A damo Mr. Lillie, baritone Dr. Karen Ball, piano
Miss Donaldson presents this recital in partial fulfillment of the requirements for the Bachelor o f Music degree in Performance. She is the trumpet student o f Prof. Brian Reichenbach.
Mr. Lillie presents this recital in partial fulfillment o f the requirements for the Bachelor o f Music degree in Performance. He is the voice student o f Dr. Neal Woodruff.
Thank you for turning off cellular phones andfor refraining
front the use of flash photography. Program Notes
Dei Pezzi caratteristici These are two of six songs that share the same text, and, together with a piano Prelude, make up the Musique anodine (Soothing Music). Rossini catalogued this work for his wife after she had cared for him during his long illness. The Musique anodine marks his return to active composing after his extended physical and psychological maladies. Translation: In silence I will complain about my bitter fate. But not to love you, dear; do not hope to obtain that from me. Cruel one, why do you still let me suffer like this? You are cruel! Do not wish it upon me.
Quoniam tu solus sanctus Rossini scored his Petite Messe Solenelle (Small Solemn Mass) for two pianos, a harmonium, and a twelve voice SATB choir made up of the four soloists and two more of each voice part. The Quonaim tu solus sanctus (For You alone are holy) from the Gloria features some of Rossini’s more operatic writing for this mass. Translation: For You alone are holy. You alone are God. You alone are the most high, Jesus Christ.
Largo al factotum In the morning, Figaro boasts about his fame throughout the city as the “Barber of Seville.” Translation: Make way for the factotum of the city, hurrying to his shop, since dawn is already here. Ah, what a fine life, what a pleasure for a barber of quality! Ah, bravo Figaro! Bravo, bravissimo! A most fortunate man indeed! Ready to do anything, night and day, always on the move. A greater reward for a barber, a more noble life, is not to be had. Razors and combs, lancets and scissors, at my command, everything's there. Here are the tools of my trade...with the ladies...with the gentlemen...Everyone asks for me; everyone wants me: Ladies, young lads, old men, young girls. Here a wig...the beard is ready...Here the leeches...The love note is ready, etc. Hey! Figaro! Figaro! Figaro!, etc. Ah me, what frenzy! Ah me, what a crowd! One at a time, for pity’s sake! Hey, Figaro! Here I am. Figaro here, Figaro there, Figaro up, Figaro down. Swifter and swifter, I'm like a lightning bolt: I'm the factotum of the city. Ah, bravo Figaro! Bravo, bravissimo! You'll never lack for luck!
M a sk s by Dana Wilson The title for this piece came from the varied personalities that mutes allow the trumpet to explore. Mutes are similar to masks both in how they're put on the trumpet physically and in how they alter the instrument's identity and character. Human masks are used in many cultures for just this reason, often conjuring the persona of specific gods. Though in the Christian tradition the role of masks has been largely relegated to the Hallowed Eve (commonly celebrated in the United States as the secular ritual known as Halloween) masks are importance vehicles for self-expression. The very word "person" derives from "persona" which is Latin for an actor's face mask (literally "to sound through"), the psychological masks to express who they are in different settings. So this piece, Masks, is an exploration of three extremely different trumpet personas, each movement drawing upon different mutes and ways of approaching the trumpet. Masks was awarded the 2001 International Trumpet Guild Composition Prize.
Lieben, hassen, hoffen, zagen During the play within a play, Harlequin tries to cheer up Ariadne after she has been abandoned by her beloved Theseus. Translation: Love, hatred, hope, fear, every joy and every pain, all these can the heart endure once, indeed many times over. But not to feel joy, nor sadness, even pain itself being dead: this is fatal to your heart; this you must not do to me! You must lift yourself from darkness, were it only for new pain! You must live, for life is lovely. You must live again once more.
Sei still mein Herz (Be still m y heart) Translation 1. I once harbored hope deep in my breast which, trusting, unlocked to her; my eyes were radiant with joie de vivre while her magic encircled me. But, when I harkened to her beguiling voice, the echo died away in the storm. Be still, my heart, and give it no thought: This now is reality, the rest was delusion. 2. Earth lay before me in a spring dream suffused with warmth and light, and, drunk with joy, I wafted through space. Blossoms burst forth from my breast; love's springtime awakened in me. Now frost shudders through me; in my soul it is night. Be still, my heart, and give it no thought: This now is reality, the rest was delusion. 3. Out of sunshine and flowers 1 built myself a bridge through life passing over which, laurel-crowned, I devoted myself to the noblest of strivings. Man's gratitude was my finest reward; the crowd laughs aloud now with impudent scorn. Be still, my heart, and give it no thought: This now is reality, the rest was delusion.
Zwiegesang (Duet) Translation 1. In a lilac bush sat a little bird in the quiet, lovely May night. Below in the high grass sat a girl in the quiet, lovely May night. The girl sang: if only the bird would be quiet. The bird sang: if only the girl would listen. And far and away their duet rang the length of the moonlit valley. 2. What was the bird singing in the branches throughout that quiet, lovely May night? And what, too, was the young girl singing throughout that quiet, lovely May night? Of spring sunshine sang the little bird, of love's delight sang the young girl. How that song pierced my heart; I shall never forget my whole life long. S e h n su c h t (Longing) Translation 1. I look in my heart and I look at the world till out of my burning eyes a tear falls. Though the distance glows with golden light, the north wind tells me I shall not reach it. Ah! How narrow our confines, how wide the world, and how fleeting is time! 2. I know a land where in sun-filled greenery grapes gleam among sunken temples, where the purple wave covers the shore with foam and laurels dream of singers to come. It lures from afar and beckons my longing soul, and I cannot go there! 3. If I had wings to fly through the blue, how I would wish to bathe in sun's fragrance! But in vain! Hour flees upon hour; pass your youth in mourning, bury your song. Ah! How narrow our confines, how wide the world, and how fleeting is time!
Vocalise-Pedrell Uruguayan composer and educator, Carlos Pedrell (1878-1941), studied in Spain before going on to teach in both Paris and Argentina. His output includes operas and ballets but is particularly remembered for his music for classical guitar.
Vocalise-J. Canteloube Marie-Joseph Canteloube de Malaret (1879-1957) was a French composer, musicologist, and author best known for his collections of orchestrated folksongs from the Auvergne region.
A la “Sant6” (To “Health) Translation As you pass the hours, as a funeral passes, you will mourn the hour when you cry, which will pass too quickly, as you pass all the hours. C lo tild e (Ending) Translation The anemone and columbine grow in gardens where gloom has slept between love and disdain. Our shadows meet there, too, which the night will dissipate until the sun sinks to disappear with them. The gods of living water cast down their long hair; you must pass to continue to follow the shadows you desire. A u to m n e (Autumn) Translation In the fog will knock a peasant and his bull, in the autumn fog that hides the poor and shamed hamlets. And the peasant will go singing a song of love and infidelity, speaking of a ring and a broken heart. Oh, Autumn! Autumn has been killed by Summer! In the fog go two gray silhouettes. Saltimbanques (Acrobats) Translation In the plain are the strollers walking the length of the gardens before the doors of gray inns, for villages without churches. And the children go on ahead, the others follow dreaming. Each fruit tree resigns itself when they signal from afar. They carry loads, round and square drums with golden hoops. The bears and sage monkeys collect fare on their passage. L ’A d ieu (A Farewell) Translation I’ve gathered this sprig of heather. Autumn is dead, you must remember. On earth we will see no longer see each other. Fragrance of time, sprig of heather, remember I wait for you forever. Les Cloches (The Bells) Translation My beautiful gypsy, my love, hear the bells on high. We loved each other passionately believing none could see us. But we were so poorly hidden; all the bells round saw us from their towers and told the world: tomorrow Cyprien, Henry, Marie, Ursula, Catherine, the baker and her husband, and Gerturde, my cousin. They’ll smile when I pass; I won’t know what to do with myself. You’ll be far away from my cries. Perhaps I’ll die.
O vin, dissipe la tristesse In Act II, Hamlet sings a song about wine before introducing the mime play reenacting his father’s murder before his father’s murderer, King Claudius. Translation: Oh wine, dispel the sadness which lies heavy upon my heart! Give to me the dreams of intoxication and mocking laughter! 0 enchanting liqueur, pour drunkenness and forgetfulness into my heart! Sweet liqueur! 0 enchanting liqueur, pour drunkenness and forgetfulness into my heart! Life is somber; years are short. Of our good days God knows the number. Each person, alas! Carries here his heavy chain—Cruel duties, long despairs of the human soul! Away from us, black omens! Ah!
Calls and Echoes by Verne Reynolds Calls and Echoes was written in 1984 for Charles Geyer and Barbara Butler (current trumpet professors at Northwestern University) by Reynolds, the horn professor at Eastman( 1959-1995). The title refers to an early function of brass instruments when forerunners of the modem trumpet were used as signaling devices for the hunt or the military. Some of the calls in this work are fast and have immediate echoes while others are slow with correspondingly delayed responses. The use of mutes in this work is very similar to that of the Masks piece- they modify the perceived sound of the trumpet. A "whispa" mute is used to create the effect of a distanced sound on stage, heard as if the performer were outside of the hall. Through his harmonically organized chaos, elaborate rhythms, and color painting, Reynolds has created one of the most noteworthy brass duets of the 20th century.
There was a knight, once From Mark Adamo’s 1998 Houston Grand Opera commission, this is John Brooke’s aria. Brooke uses Miss Meg March’s game of storytelling to reveal his affection for her. Upcoming Events
Tuesday, November 16 Senior Recital: Hackman/Miller 7:00pm- Kelley Prayer Chapel
Monday, November 22 Concert Singers/ Chamber Concert 7:00pm- Kresge Auditorium
Monday, November 29 Music Dept. Student Recital 9:30am- Kresge Auditorium
Saturday, December 4 Messiah Performance 7:00pm- Centennial Chapel
Monday, December 6 Music Dept. Student Recital 9:30am- Kresge Auditorium
Thursday- Friday, December 9-10 Sounds of the Season * 7:00pm- Kresge Auditorium
* These events require a ticket
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu A, I OLIVET Department of Music \W N A Z A R E N E UNIVERSITY
Jase Hackman bass-baritone Nicole Miller mezzo-soprano
with Dr. Jeff Bell, piano Dr. Gerald Anderson, piano Prof. Freddie Franken, guitar Chris Field, percussion Alicia Carter, soprano
7:00 pm Tuesday, November 16, 2010 Kelley Prayer Chapel PROGRAM Invocation
Songs of Sorrow, Op. 10 R. Quilter A Coronel Passing Dreams A Land of Silence In Spring Mr. Hackman, bass-baritone Dr. Jeff Bell, piano ♦ ♦♦♦♦ Allerseelen (All Souls Day) Herman von Gilm Liebst du urn Schonheit (If You Love for Beauty) Clara Wieck Schumann Immer leiser wird mein Schlummer Johannes Brahms Miss Miller, mezzo-soprano Dr. Gerald Anderson, piano ♦ ♦♦♦♦ Ich liebe dich L. van Beethoven Ein Jiingling liebt ein Madchen (from Dichterliebe) R. Schumann An die Musik F. Schubert Mr. Hackman, bass-baritone Dr. Jeff Bell, piano ♦ ♦♦♦♦ Smanie lmplacabili (from Cosifan tutte) W. A. Mozart Come Raggio di sol Antonio Caldara Miss Miller, mezzo-soprano Dr. Gerald Anderson, piano La Pesca Rossini Miss Miller, mezzo-soprano Miss Alicia Carter, soprano Dr. Gerald Anderson, piano
Lydia G.Faure Plaisird’amour J. Martini Mr. Hackman, bass-baritone Dr. Jeff Bell, piano ♦ ♦♦♦♦ Le Charme Ernest Chausson Arriette Paul Vidal Miss Miller, mezzo-soprano Dr. Gerald Anderson, piano Ah pieta, signori miei (from Don Giovanni) W. A. Mozart Son lo spirit che nega (from Mefistofele) A. Boito Mr. Hackman, bass-baritone Dr. Jeff Bell, piano ♦ ♦♦♦♦ Heavenly Grass Paul Bowles Miss Miller, mezzo-soprano Dr. Gerald Anderson, piano ♦ ♦♦♦♦ Chega de Saudade (No More Blues) Antonio Carlos Jobim Miss Miller, mezzo-soprano Prof. Freddie Franken, guitar Mr. Chris Field, percussion ♦ ♦♦♦♦ My One and Only Love Guy Wood, Robert Mellin Miss Miller, mezzo-soprano Prof. Freddie Franken, guitar
Miss Miller presents this recital in partial fulfillment of the requirements for the Bachelor o f Arts in Music degree. She is the voice student o f Prof Martha Dalton.
Mr. Hackman presents this recital in partial fulfillment o f the requirements for the Bachelor o f Music degree. He is the voice student o f Dr. Jeff Bell.
Thank you for turning off cellular phones andfor refraining
from the use of flash photography. Program Notes
S on gs o f S o rro w Roger Quilter (1877-1953) was a prominent English composer of vocal music. Songs of Sorrow uses four poems by Ernest Dowson (1867-1900).
Allerseelen (All Souls Day) Translation Place on the table the fragrant mignonettes Bring here the last of the red asters, And let us speak again of love, As long ago in May. Give me the hand that I may secretly clasp it, And if it is observed by others, 1 will not mind; Give me one of your sweet glances, As long ago in May. Today each grave is flowering and fragrant, Once a year is All Souls’ Day, Come to my heart that I again may have you, As long ago in May
Liebst du urn Schonheit (If You Love for Beauty) Translation If you love for beauty, the do not love me! Love the sun, with its golden hair! If you love for youth, then do not love me! Love the spring, which is young every year! If you love for treasure, then do not love me! Love the mermaid, who has many shining pearls! If you love for love, oh then love me! Love me always, as I will always love you!
Immer leiser wird mein Schlummer Translation My slumber grows ever more peaceful; and only like a thin veil now does my anxiety lie trembling upon me. Often in my dreams I hear you calling outside my door; no one is awake to let you in, and I wake up and weep bitterly. Yes, I will have to die; another will you kiss, when I am pale and cold. Before the May breezes blow, before the thrush sings in the forest: if you wish to see me once more, come, o come soon! Ich liebe dich Ich liebe dich was written in 1795 by Ludwig Van Beethoven (1770-1827). Translation 1 love you as you love me, in the evening and the morning, nor was there a day when you and I did not share our troubles. And when we shared them they became easier to bear; you comforted me in my distress, and 1 wept in your laments. Therefore, may God's blessing be upon you, You, my life's joy. God protect you, keep you for me, and protect and keep us both.
Ein JQngling liebt ein Madchen This song is one selection out of Robert Shumann’s song cycle Dichterbiebe (Poet’s Love). The cycle was composed in 1840 using the poetry of Heinrich Heine. Translation A youth loved a maiden who chose another: the other loved another girl, and married her. The maiden married, from spite, the first and best man that she met: the youth was sickened at it. It's the old story, and it's always new: and the one whom she turns aside, she breaks his heart in two.
An die Musik This song was composed by Franz Schubert in 1817 with text by Franz von Schober. Translation Oh lovely Art, in how many grey hours, when life's fierce orbit ensnared me, have you kindled my heart to warm love, carried me away into a better world! How often has a sigh escaping from your harp, a sweet, sacred chord of yours opened up for me the heaven of better times, oh lovely Art, for that I thank you!
Smanie Implacabili (From Cosi fan tutte) Translation Ah move away! Fear the sad effect of a desperate affection! Shut those windows, I hate the light, I hate the air that 1 breathe. I hate myself! Who mocks my pain, who will console me? Oh leave for pity’s sake, leave, leave me alone. Implacable restlessness, that disturbs me Inside this soul, doesn’t cease, until it makes me die. A miserable example of fateful love I will give to the furies, if 1 live, with the horrible sound of my sighs.
Come Raggio di sol Translation As a ray of peaceful sunshine gleams on the tranquil wave, while deep in the sea's bosom the tempest lies hidden: so it may happen that a smile of contentment blooms upon the lips, while the heart is writhing in secret anguish. La P esca Translation Already night is approaching, come o Nice, my beloved, from the calm seascape let us breathe the fresh zephyrs. No one can say that he is loved unless he stands on these sands now that a slow little breeze gently ripples the sea.
L ydia This song was composed by Gabriel Faure (1845-1924) in 1870 to poetry by Charles-Marie-Rene Leconte de Lisel. Translation Lydia, on your rosy cheeks, And on your neck, so fresh and white, Flow sparklingly The fluid golden tresses which you loosen. This shining day is the best of all; Let us forget the eternal grave, Let your kisses, your kisses of a dove, Sing on your blossoming lips. A hidden lily spreads unceasingly A divine fragrance on your breast; Numberless delights Emanate from you, young goddess, I love you and die, oh my love; Kisses have carried away my soul! Oh Lydia, give me back life, That I may die, forever die!
Plaisir d’amour Plaisir d’amour was composed in 1784 by Johann-Paul Martini (1741- 1816), a German native who spent most of his career in France, becoming quite well known for his operas. Translation The pleasure of love lasts only a moment, the pain of love lasts a lifetime. I gave up everything for ungrateful Sylvia, she is leaving me for another lover. "As long as this water will run gently towards this brook which borders the meadow, I will love you," Sylvia told me repeatedly. The water still runs, but she has changed.
L e C h a rm e Translation When your smile surprised me, I felt a shudder through my entire being, But what tamed my spirit, At first I did not recognize. When your glance fell on me, I felt my soul melt, but what that emotion was, at first I could not answer it. What conquered me forever, that was a charm more sad, and I did not know that I loved you, Until 1 saw your first tear.
A r rie tte Translation Were I sunshine, 1 should come, pretty maiden. Were I sunshine flashing bright from the skies, should pour the light of my fire, sweet maiden, in thy pretty eyes. Were 1 Zephyrus, I’d blow thro’ thy tresses, thro’ the tresses soft of thy golden hair. 1 should play in them with wanton caresses, no for rivals care! Were I perfume sweet, and thy smile malicious. Were I perfume sweet, yet 1 should impress on thy dimpled cheek, or thy lips delicious, a delicious kiss! Could I be a voice, humble or imperious, ever shall I come, ceaseless, undeterred, whispering in thine ear many a mysterious and amorous word. And if I were love, I’d dwell in thy spirit, and if I were Love thy heart I should claim. I would breath my name; at eve thou shouldst hear it, my all-conquering name! Ah pieta, signori miei This aria is from Mozart’s opera Don Giovanni. The story of the opera is about the corrupt, womanizing Don, and his eventual downfall. This aria is sung by his servant Leporello, the comic relief of the opera who is always left cleaning up after all of Don Giovanni’s messes. Translation Ah, be not so hard upon me, give me leave, good friends, to speak! Wrongs ike yours surely had undone me. But, believe me, I am not he you seek. 1 will tell you how my master, did from bad to worse descend. Donna Elvira, do you tell them, By what arts he gains his end; As for thee, I've not a notion what befell thee; as this ady here can tell thee, for 1 met her, with him philand’ring, well I knew how all vould end; and to your lordship, I will admit it, I've acted wrongly, not as befitted... I know I've trespas'd, 1 ask your pardon, lost in the darkness, I entered the garden, 'lot thought t'offend. 'Twas a blunder; greatly I wonder, how all was known! Masters, I would now with speed be gone.
Son lo spirito che nega This aria is from the opera Mefistofele by Arrigo Boito. It is based on Goethe’s Faust. This aria is sung by Mefistofele (the Devil). Translation I am the Spirit that eternally denies everything: the star, the flower. My mocking laughter and my quarrelling, disturb the Creator's rest. I seek Annihilation and Creation's universal ruin, vital, my breath of life is that which is called sin, Death nd Evil. "No!" I laugh and I hurl this word: "No!" "No!" I devour, I tempt, I roar, I biiss: "No!" 1 gnaw, I stir things up, I devour, I tempt, I roar, 1 hiss: "No!" Eh! I whistle mockingly! I whistle! I whistle! Hey! I am part of a lurking-place of the great 11-in-all: Shadow. I am a son of the Darkness that to Darkness will return. If for now me light usurps and seizes my scepter in rebellion, soon will come its battle over the Sun and over the Earth, is Destruction! I Upcoming Events
Monday, November 22 Concert Singers/ Chamber Concert 7:00pm- Kresge Auditorium
Monday, November 29 Music Dept. Student Recital 9:30am- Kresge Auditorium
Saturday, December 4 Messiah Performance 7:00pm- Centennial Chapel
Monday, December 6 Music Dept. Student Recital 9:30am- Kresge Auditorium
Thursday- Friday, December 9-10 Sounds of the Season * 7:00pm- Kresge Auditorium
* These events require a ticket
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE r UNIVERSITY
featuring Concert Singers Flute Ensemble Handbell Choir Saxophone Ensemble String Quartet Trumpet Ensemble ♦ ♦ ♦ ♦ ♦ 7:00 p.m. Monday, November 22,2010 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation
Concert Fanfare Eric Ewazen Andante Cantabile (from Symphony No. 5) Peter Ilich Tchaikovsky Trumpet Ensemble Rae Marie Donaldson, Kristen Kuzur, Andrew Moore, Merrick Robison, Jeremiah Stark, Kerry VanSyckle, Adam Weeks, Patrick Wright ♦♦♦♦♦♦
Be Thou My Vision arr. Roy T. Scoggins, Jr. Old 100th Handbell Choir Derek Corcoran, Kristen Cheney, Rose Hall, Diane Rankin, Britney Terpstra, John Michael Jurica, Faith Hatalla, Stephanie Jungles, Amy Bell, Joshua Griffes, Desiree Hays ♦♦♦♦♦♦
Three Gypsy Songs, Op. 103 Johannes Brahms I. Kommt di manchmal II. Horch, der Wind klagt III. Brauner Bursche Elizabeth Morley, piano
Three Hungarian Folk-Songs Matyas Seiber I. The Handsome Butcher II. Apple, apple III. The Old Woman Concert Singers Ali Carter, Christine Caven, Paul Drace, Taylin Frame, Ben Geeding, Gwen Holmes, Cindy Jackson, Keegan Hurt, Chris LeFevre, Reuben Lillie, Seth Lowery, Jonathan Mikhail, Nicole Miller, Alyssa Norden, Ashley Raffauf, Blake Reddick, Calley Seefeldt, Sarah Ward ♦♦♦♦♦♦ Adagio (from String Quartet No. 14 in D minor) Franz Schubert String Quartet Elisabeth Peulausk, Jennifer Legg, Josh Woods, and Brian Kosek ♦♦♦♦♦♦
L’Arlesienne Suite No. 2 George Bizet M enuet Farandole Flute Choir Diane Rankin, Emily Shelton, Desiree Hays, Joe MacDonald, Marijke Bakker, Britney Terpstra, Kathryn Peugh, Rachel VonArb, Jamie Hill, Bethany Rush ♦♦♦♦♦♦
Alice in Wonderland arr. Paris Rutherford Ashley Raffauf, soprano You Put This Love in My Heart arr. Rob Neal Concert Singers ♦♦♦♦♦♦
Swingtime B. Holcombe Saxophone Ensemble Kristin Cheney, Desmond Handson, Ian Smith, Angela Reedy, Renee Runyan, Jon Erdahl, Margaret O'Neill
Trumpet Ensemble- Prof. Brian Reichenbach, director Handbell Choir / Flute Choir- Prof. Katie Nielsen, director Concert Singers- Dr. Neal Woodruff, director String Quartet- Prof. Rachel Jacklin, director Saxophone Ensemble- Angela Reedy, student director
Thank you for turning off cellular phones and for refraining from the use of flash photography. Upcoming Events Monday, November 29, 2010 Music Dept. Student Recital 9:30am- Kresge Auditorium
Saturday, December 4, 2010 Messiah Performance 7:00pm- Centennial Chapel
Monday, December 6, 2010 Music Dept. Student Recital 9:30am- Kresge Auditorium
Thursday- Friday, December 9-10, 2010 Sounds of the Season * 7:00pm- Kresge Auditorium
Tuesday, January 11, 2011 Orchestra Clinic Concert* featuring Nielson & Young 7:00pm- Centennial Chapel
T h ese events require a ticket.
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu 9:30 a.m. Monday, November 29, 2010 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation
Ballade, Op. 46 S. Barber Ben Cherney, piano ♦♦♦♦♦♦
Someone to Watch Over Me (from Oh, Kay!) G. Gershwin Kelsey Sowards, soprano Luke Olney, piano ♦♦♦♦♦♦
Sonata Op. 35, No. 2 F. Chopin Scherzo Andrea Richardson, piano
I Whistle a Happy Tune (from The King and I) R. Rodgers Ashley Naffziger, soprano Luke Olney, piano ♦♦♦♦♦♦
Intermezzo Op. 117, No. 2 J. Brahms Elizabeth Morley, piano ♦♦♦♦♦♦
Fantasia H. Villa-Lobos Lentement Jeremy Schooler, tenor saxophone Andrea Richardson, piano ******
Stepping Stone B. Quartier Mike Zaring, marimba Upcoming Events
Saturday, December 4, 2010 Messiah Performance 7:00pm- Centennial Chapel
Monday, December 6, 2010 Music Dept. Student Recital 9:30am- Kresge Auditorium
Thursday- Friday, December 9-10, 2010 Sounds of the Season * 7:00pm- Kresge Auditorium
Tuesday, January 11, 2011 Orchestra Clinic Concert* featuring Nielson & Young 7:00pm- Centennial Chapel
*These events require a ticket.
Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET NAZARENE UNIVERSITY a n d © P N C present
75th Annual Presentation of George Frideric Handel’s R tc s s n li Dr. Jeff Bell, conductor Dr. Neal Woodruff, conductor Dr. Harlow Hopkins, guest conductor Dr. George Dunbar, guest conductor
w ith the Olivet Nazarene University Orchestra, Choirs, and featured soloists
Saturday, Dec. 4, 2010 • 7 p.m.
Betty and Kenneth Hawkins Centennial Chapel Olivet Nazarene University
King Music is the proud sponsor of the ONU Presents Music Series
ONU Presents is also sponsored by:
£ P r o v e n a PEPSI R i v e r s i d e JOURNAL St. Mary’s Hospital H ealthcare Funeral Homes, Inc. History of Messiah
in the Baroque era, the first works called “oratorios” were religious operas, -complete with costumes and staging. By Handel’s time, the scenery, costumes, and actions had been abandoned but the idea of drama was retained. Each soloist represented a specific character. Like opera, an oratorio was a work of considerable scope, requiring two or more hours to perform. It featured an iccompanying orchestra and a chorus in addition to the soloists.
During the 1740’s and 1750’s there flowed from Handel’s pen a remarkable ;eries of oratorios -Messiah, Samson, Semele, Joseph and his Brethren, Hercules, Belshazzar, Judas Maccabaeus, Joshua, Susanna, Solomon, Jeptha-over twenty- five in all.
In spite of Handel’s earlier successes with staging Italian Grand opera in England, by the 1740s this style was out of vogue. In 1741, Handel poured most of his jnoney into the revival of his two Italian operas, Im eneo, and D eidam ia, and had Inet with failure. Rather than brood his time away, Handel set about writing the oratorio M essiah, working on it with consuming intensity. He must have labored onstantly, and it is known that he paid little attention to the food his servant :ft at his door. After the completion of the “Hallelujah Chorus” a servant found him with tears in his eyes exclaiming, “I did think I saw Heaven before me, and jheI great God himself!”
Handel accepted an invitation to give a series of benefit concerts in Dublin, Ireland. He thought the change from London to Dublin might do him some good )s well as revitalize his finances. Also, he was a philanthropist who was sensitive to needy causes. The Dublin benefit was for the Society for Relieving Prisoners, The Charitable Infirmary and Mercer’s Hospital. By the end of 1741, Handel had Jraveled to Dublin and led a series of concerts. He kept M essiah “up his sleeve” until March of 1742. An open rehearsal of the work a month before its premier 'pelped stimulate public interest so that hundreds of people had to be turned away Irom the first performance on April 13. An extract from the Dublin news-letter April 10 (1742) concerning this public rehearsal reads:
“Yesterday Morning, at The Musick hall there was a public Rehearsal of the M essiah, Mr. Handel’s new sacred Oratorio, which in the opinion of the best judges, far surpasses anything of that Nature, which has been performed in this or any other Kingdom. The Elegant Entertainment was conducted in the most regular Manner, and to the entire satisfaction of the most crowed and polite assembly.”
Only 700 people squeezed into the hall for the first performance even though advertisements asked the ladies not to wear hoops that made their dresses billow out and then men to leave their swords at home. The performance was, a tremendous success.
The Dublin Journal of April 17 contained this report:
“On Tuesday last Mr. Handel’s Sacred Grand Oratorio, the MESSIAH,I was performed at the New Musick-Hall in Fishamble-street; The best Judges allowed it to be the most finished piece of Musick. Words are wanting t< express the exquisite Delight it afforded to the admiring crowded Audience1 The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic, and moving Words, conspired to transport and charm the ravishecf Heart and Ear.”
The oratorio M essiah differs from other oratorios chiefly in that its text i entirely scriptural and it has no part for a narrator, who through singinj describes the events of a story. Further, certain of Handel’s oratorios are mythological (as in Sem ele) while others are allegorical (as in A lexander’j Feast). Messiah is a contemplation on the Christian faith, starting with section on prophecy and Christ’s birth, followed by a vivid evocation of His suffering and death, and concluding with the triumph of the Resurrectionan Redemption for all mankind. Like his other oratorios, M essiah was writte I to be performed in the concert hall during the Lenten season, during which time the performance of opera was forbidden.
The text, solely scripture, is drawn from seven Old Testament and five New Testament books. Although close to the original narrative, the text waj rewritten in recitatives (sometimes prose, sometimes rhymed verse), -ariajI and choruses. Strangely, there is some conjecture as to who arranged the Bible verses for the oratorio. It is known who sent the text to Handel, Charles Jennens, who is described by Dr. Samuel Johnson’s cutting tonguI as “a pompous, conceited, wealthy fop who imagined himself to be a literary genius.” Despite this controversy, the masterly skill exhibited in the integration of text and music in unequivocally Handelian.
One well-known tradition has developed regarding M essiah. At the firsj performance in London on March 23, 1743, King George II was reported! so awed by the “Hallelujah Chorus” that he rose and stood at his seat. In thatI era, when the monarch stood, everyone stood. So the King’s spontaneouj action became a tradition that is often followed today. Olivet Premier \n enthusiastic and appreciative crowd greeted the premier performance :>f M essiah by the College Oratorio Society at 10:30 a.m. on May 26, 1936. The performance in the Chapel of “Old Olivet” was conducted by Dr. Walter Burdick Larsen (Department Head). The featured soloists were Lois (Sutton) Walker, soprano; Naomi (Tripp) Larsen, contralto; H.H. Price, tenor; and Melvin Anderson, baritone.
Vlrs. Lois Walker, a student of Walter and Naomi Larsen and soprano soloist in 1936, 1937, and 1939, relates some pertinent details of this first performance. Mrs. Walker noted how “excited” she was having been selected to sing five recitatives knd arias. The soloists and chorus of some 140 members were accompanied on this occasion by two pianists-Mrs. Hertenstein and Mrs. Geraldine (Spangler) jdatton. Dr. Larsen conducted with “precision and enthusiasm.”
Reminiscences Naomi Larsen relates an incident from an era when rules were “ultra strict” and (he “10 p.m. rule” was unequivocally enforced. Convinced that a vihrant Spring evening was to be enjoyed, Naomi, her date and three couples embarked on the Ithree mile square” - (a walk bordering the campus of Old Olivet and a nearby graveyard). The next day Olivet buzzed with the news of the recalcitrant behavior. The verdict- Naomi and her friends were suspended from campus for two days. The timing, ironically, was during M essiah rehearsals. Walter Larsen was beside fiimself on discovering that his accompanist Naomi was “grounded.” Fortunately, Dr. Larsen’s frustration at not having an accompanist was tempered by his own j>ersonal agenda- he proceeded to marry his accompanist the following summer!
Dr. Ray Moore, a sophomore and baritone soloist in 1939, remembers the trauma •jhat surrounded the Easter performance of the M essiah that year. Dr. Larsen had psisted that all solos by sung by memory. Ray Moore with trepidation began the aria “The People That Walk in Darkness.” This frightened sophomore began well, and then took an unrehearsed turn. Dr. Larsen, exasperated, motioned to Ray to nick up the score. On seeing this cue all the other soloists unanimously breathed a sigh of relief!
pr. Harlow Hopkins remembers an accident that turned into a blessing: “In December, 1961, the 25th anniversary of Olivet M essiah presentations, Mrs. Larsen fell and broke her arm a few days before the performances. It became vident that she could not conduct an entire performance without help. She Turned to me—I was greatly honored! The result was that Mrs. Larsen conducted the majority of each performance but I conducted several choruses. It was the Srst time that anyone other than Dr. or Mrs. Larsen had conducted any portion -Af M essiah since tradition began in 1936.” C o n d u c to rs
Walter Burdick Larsen (March 12, 1908-June 14, 1957)-conductor 1936-1956
Dr. Larsen was raised in Minot, North Dakota, and received his firs! piano lessons from his mother. After graduating from the Western Conservator^ of Music in Minot he studied at the MacPhail School, Minneapolis and at Bethany College, Lindborg, Kansas.
He received bachelor of music and master of music degrees from the American Conservatory, Chicago; a bachelor of science in music education, an honorary doctorate from Olivet Nazarene College and an advanced certificate iri music education from the University of Illinois, Urbana.
Dr. Larsen had also studied with Mrs. Edward MacDowell, widow of th He joined Olivet’s faculty in 1930, serving as chairman of the division o | Fine Arts from 1940 to 1957. He taught principally choral music and music theory. He founded the Orpheus Choir in 1932 shaping it into a first rate ensembl Orpheus Choir became the backbone of the College Oratorio Society whic presented the Messiah. Dr. Larsen directed the M essiah for 21 years, m ost o! these years in Kankakee where the production had become so popular that thre| performances were necessary to accommodate the crowds. A man committed to the welfare of his community, Dr. Larsen served o: the board of the Kankakee Civic Music Association, directed the Kankakee Coun Hymn festival and the Kankakee Centennial Chorus. In addition to membershipI in professional music organizations, Dr. Larsen was a guest conductor and judg| at many high school music festivals and contests in the Midwest. An active member of College Church, Dr. Larsen was an articulati communicator of the highest ideals in church music and worked tirelessly t<\ model these ideals. Naomi Larsen (October 25, 1907- October 27, 1996)- conductor in 1957-196c| 1963-1971 While still a sophomore in high school, Naomi’s considerable keyboan skills attracted the attention of Olivet’s music department. That year, 192i she was appointed chapel pianist and ensemble accompanist. She subsequently graduated from Olivet with a Bachelor of Music in 1933. Mrs. Larsen held two master of music degrees from the American [Conservatory, one in voice and one in piano. She did additional study at Bethany Lutheran College, the University of Missouri (KC) and the University of Illinois. After teaching one year at Northwest Nazarene College, Mrs. Larsen joined the plivet faculty in 1935 teaching piano and voice. Mrs. Larsen was the contralto soloist in the first M essiah presentation t Olivet in 1936, and alternated roles as soloist and member of the chorus until 957. That year she took over the baton of Orpheus Choir (of which she was a charter member), serving as its conductor until 1972. In addition, she conducted kll Messiah performances during that period. Naomi noted that “conducting Messiah for me was utopia.” Moreover, the initial exposure of the Larsens to the massed choir presentations of M essiah while at Bethany College in 1934, terved as a formative catalyst. She recollected that those performances had a great impact on them. joe M. Noble (conductor in 1977, 1981-1985, 1987-1988, 1990-1996) Joe Noble holds a bachelor’s degree from Luther College, Decorah, Iowa, ind a master’s degree in Music from the University of Iowa. He has completed jourse work and comprehensive exams for a doctoral degree from the University of Iowa. Mr. Noble conducts public school workshops, festivals and Church thoir retreats throughout the Midwest and East Coast regions. He conducted the phoral Union (massed choir), Viking Male Chorus, and taught voice, conducting, and music education courses in the Music Department at Olivet. J ) . George Dunbar (conductor in 1984-1985) ■ A Canadian by birth, George Dunbar took undergraduate studies at Canadian Nazarene College completing his BA at Olivet Nazarene College. His academic program includes an MM in voice from the University of Illinois, Urbana, and a Doctor of Musical Arts in Church Music from 1970, from the University of Southern California. Before joining the Olivet faculty in 1969, Dr. Dunbar taught for a eriod at Cascade College, Portland, Oregon. His distinguished career includes xhoral conducting clinics, the performance of Orpheus Choir at Gaither “Praise Gatherings,” MENC conventions and General Assemblies of the Church of the Jazarene. Over the years, Dr. Dunbar has inspired many through his direction f church choirs in Oregon, California, and Illinois. He retired from Olivet in 1999. Harlow Hopkins (conductor in 1961-1962, 1980, 1984-1986, 1989) Harlow Hopkins graduated from Olivet Nazarene College in 1953. Dr. Walter B. Larsen hired him to teach the following year. He completed a Master’ in Music Education at the American Conservatory of Music in Chicago. Militar service intervened, during which time he played in the 7th Army Symphony, touring NATO countries. In 1956 he returned to teach at Olivet and begat graduate work at Indiana University (Bloomington). The D. Mus. In Woodwin Literature and Performance was conferred in 1974. He was chair of the Division of Fine Arts and the Department of Musi<| from 1967 to his retirement in 1996. He conducted the Olivet Concert Band from 1957 to 1996, taught woodwind instruments, instrumental conducting an directed the Olivet symphony. Today he serves as Adjunct Professor of clarinet. 1 Dr. Hopkins’ community activities have included serving as choir directo at local churches and as an active Rotarian. His participation in the Kankake I Valley Symphony Orchestra began in 1968 as principal clarinetist, after which he became conductor until resigning to complete doctoral work. Returning ta the orchestra as principal clarinetist in 1974, he continues in that capacity. Dtl Hopkins became a KVSOA Board member in 2000 and currently serves as board president. The highest honor of his life came in 1995 when the former music building was named the Harlow E. Hopkins Alumni Center. Jeff Bell (conductor in 1997-1999, 2001, 2003-present) Dr. Jeff Bell has served as Professor of Music at Olivet Nazarene Universitj since 1997, and he is the conductor of ONU’s Orpheus Choir. Other teaching responsibilities include Beginning Conducting, Voice Literature and Pedagogy 20th Century American Popular Music, Senior Seminar, Choral Literature an Conducting, and the annual performances of Handel’s M essiah. He came to thi! position after 13 years on the music faculty of Indiana Wesleyan University. Dr Bell earned the B.S. in Music Education from Olivet Nazarene University, thj M.Mus. in Voice Performance and Literature from the University of Illinois, an the Doctor of Arts in Voice Performance from Ball State University. Dr. Bell has produced and conducted three CDs of sacred music witfc Orpheus Choir, A Mighty Fortress, Great Is They Faithfulness, and Love C am e G ently, and he is music director and conductor of the Kankakee Valley Symphor Orchestra Chorus. He serves as organist for College Church of the Nazareni in Bourbonnais, and he is a frequent adjudicator and clinician for choral and nstrumental clinics and competitions. Dr. Bell performs in recitals, opera, and >ratorio, and is a published composer and arranger. He and his wife, Carole t(ONU ’81), and daughters Christin and Katie Jo reside in Bradley, IL. Kleal Woodruff (conductor in 2000, 2002, 2005, 2007, 2009-present) Dr. Neal W. Woodruff (ONU, ’91) joined the Olivet faculty in 2000, berving as professor in the Department of Music. Dr. Woodruff is the conductor of the University Orchestra and Concert Singers. Other teaching responsibilities Include applied voice/pedagogy (both classical and contemporary), opera/music theatre, applied conducting, and church music. Prior to his appointment at Olivet, Dr. Woodruff served on the faculties of Malone College (Canton, OH), Southern Nazarene University (Bethany, OK) and the Herscher (IL) school district. In addition he has maintained numerous full and part-time church positions in Illinois, Ohio, Oklahoma, and Texas, most recently at College Church of the JMazarene in Bourbonnais, IL. Dr. W oodruff completed the Doctor of Musical Arts degree in conducting it the University of Oklahoma, where he was a student of Dennis Shrock and Alan loss. Previous studies culminated in the M.M. in voice performance/pedagogy Irom Stephen F. Austin State University, and a B.A. in music education from 31ivet. He has been a student of David Jones, Deborah Dalton, Jeannette LoVetri, ind Terry Eder. He has also participated in master classes with Richard Miller, uora Contino, Paul Kiesgen, and John Keenan. Dr. Woodruff currently serves as the Illinois Governor for the National Association of Teachers of Sings (NATS) and as Orchestra manager, and associate :horus master for the Sugar Creek Opera Festival. A former understudy soloist vith the Chicago Symphony Orchestra, Woodruff has performed under the baton of Sir Georg Solti, Margaret Hillis, Zubin Mehta, and James Levine. He maintains in active schedule as performer, clinician, and adjudicator. Recent performances nclude H an d el’s M essiah, Beethoven’s Ninth Symphony, Verdi’s La Traviata, JElisir D ’Amore by Donizetti, and Pagliacci by Leoncavallo. Current and former students of Dr. Woodruff have performed leading foies with the Stephen Sondheim Center for the Performing Arts, Indianapolis Opera, Sugar Creek Symphony and Song, Crane River Theatre Company, and [lioncora. Dr. Woodruff resides in Kankakee with his wife Shannon (Dunn, SNU [95) and children Ryan, and Kayelyn. PROGRAM Welcome and Invocation Part O ne Overture Dr. Bell, conductor. Recitative Dr. Woodruff Comfort ye, My people, saith your God. Speak ye comfortably to Jerusalem, and cry to her that her warfare is accomplished, that her iniquity is pardoned! The voice of him that crieth in the wilderness. Prepare ye the way of the Lord\ make straight in the desert a highway for our God. (Isaiah 40:1-3) Aria Dr. Woodrufj Every valley shall be exalted, and every mountain and hill made low; the crookea straight, and the rough places plain. (Isaiah 40:4) Chorus Dr. Hopkins, conductor And the glory o f the Lord shall be revealed, and all flesh shall see it together, for the mouth of the Lord hath spoken it. (Isaiah 40:5) Recitative Mr. Drace Thus saith the Lord, the Lord of Hosts: Yet once, it is a little while, and I wil\ shake the heavens and the earth, the sea and the dry land; and the desire o f all nations shall come. The Lord, whom ye seek, shall suddenly come to His temple} even the messenger of the covenant, whom ye delight in; behold, he shall come, saith the Lord of Hosts. (Haggai 2:6,7; Malachi 3:1) Aria Mr. Drace But who may abide the day of His coming? And who shall stand when I In appeareth? For He is like a refiner’s fire. (Malachi 3:2) C horus And He shall purify the sons of Levi, that they may offer unto the Lord a>\ offering in righteousness. (Malachi 3:3) Recitative Miss FramJ Behold, a virgin shall conceive, and bear a son, and shall call his name Emmanuel\ G od w ith us. (Isaiah 7:14; M a tth ew 2:23) Aria with chorus Miss Framd O thou that tellest good tidings to Zion, get thee up into the high mountain! C/ thou that tellest good tidings to Jerusalem, lift up thy voice with strength! Lift it up, be not afraid! Say unto the cities of Judah, Behold your God! O thou tha tellest good tidings to Zion, arise, shine, for thy light is come, and the glory o, the Lord is risen upon thee! (Isaiah 40:9) Recitative Mr. Lillie For, behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee, and the Gentiles shall come to thy light, and kings to the brightness o f thy rising. (Isaiah 60:2,3) Aria Mr. Lillie The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined. (Isaiah 9:2) Chorus Dr. Dunbar, conductor For unto us a child is born, unto us a son is given; and the government shall be upon His shoulder; and His name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince o f Peace. (Isaiah 9:6) Pastoral Symphony Dr. Woodruff, conductor Recitative Miss Carter There were shepherds abiding in the field, keeping watch over their flock by night. And lo! The angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid. (Luke 2:8-9) Recitative Miss Carter And the angel said unto them, Fear not: for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day, in the city of David, a Savior, which is Christ the Lord. (Luke 2:10-11) Recitative Miss Carter And suddenly there was with the angel a multitude o f the heavenly host, praising God and saying: (Luke 2:13) C horus Glory to God in the highest, and peace on earth, good will toward men. (Luke 2:14) Aria Miss Carter Rejoice greatly, O daughter of Zion; Shout, O daughter ofJerusalem: behold, thy king cometh unto thee. He is the righteous Saviour, and He shall speak peace unto the heathen. (Zechariah 9:9-10) Recitative Miss Frame Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb shall sing. (Isaiah 35:5-6) Aria Miss Frame He shall feed His flock like a shepherd, and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. (Isaiah 40:11) Aria Miss Carter Come unto Him all ye that labor and are heavy laden, and He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. (Matthew 11:28-29) Part Tw o C h o ru s Behold the Lamb of God that taketh away the sin of the world. (John 1:29) Aria Miss Frame He was despised and rejected of men, a man of sorrows and acquainted with grief. (Isaiah 53:3) C h o ru s Surely He hath borne our griefs, and carried our sorrows; He was wounded for our transgressions; He was bruised for our iniquities; the chastisement of our peace was upon Him. (Isaiah 53:4-5) Recitative Mr. Lowery Thy rebuke hath broken His heart; He is full of heaviness; He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him. (Psalm 69:20) Aria Mr. Lowery Behold and see if there be any sorrow like unto His sorrow. (Lamentations 1: 12) Recitative Mr. Lowery He was cut off out of the land of the living; for the transgression o f Thy people was He stricken. (Isaiah 53:8) Aria Mr. Lowery But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption. (Psalm 16:10) C horus Hallelujah! For the Lord God Omnipotent reigneth. The kingdom o f the world is become the kingdom of our Lord and of His Christ; and He shall reign for ever and ever, King of Kings, and Lord of Lords, Hallelujah! (Revelation 19:6; 21:15; 19:16) Part Three Aria Miss Carter; Dr. Bell, conductor I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits o f them that sleep. (Job 19:25-26) C h o ru s Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive. (I Corinthians 15:21-22) Recitative Mr. Rice Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed in a moment, in the twinkling of an eye, at the last trumpet. (I Corinthians 15:51-52) Aria Mr. Rice The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. (1 Corinthians 15:52-53) C h o ru s Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever. Amen. (Revelation 5:12-13) Olivet Nazarene University Department of Music Soloists Alicia Carter, soprano Taylin Frame, contralto Seth Lowery, tenor Paul Drace, bass Reuben Lillie, bass David Rice, bass with Dr. Timothy Nelson, organ Joshua Ring, harpsichord Patrick Wright, trumpet Chrysalis Women’s Choir Prof. Kay Welch, conductor Testament Men’s Choir Prof. Ryan Schulte, conductor Orpheus Choir Dr. Jeff Bell, conductor University Orchestra Dr. Neal Woodruff, conductor Concert Singers Dr. Neal Woodruff O rchestra Flute O rgan Viola Rachel Von Arb Dr. Timothy Nelson Tianna Frey Diane Rankin Jennifer White Violin I Zach Thomas O boe Elisabeth Peulausk* Katie Hanley Kristen Kehl Lauren Hoenig Katy Van Donselaar Joy Matthews Jennifer Legg Josh Woods Katie Dunkman Chantalle Falconer Heather Williams Rachel Tschetter Clarinet Amanda Winkle ‘Cello Emily Martin Jessica Brown Allison Richmond Elise Payne Rebecca Walker Brian Kosek Lauren Beatty Andrew Nielson Bassoon Amanda Luby Elisabeth Holoway Ashley Pitzer Katelynn Flynn Brianna Robins Violin II Erin Evans Emily Borger Sarah DiLeonardo H orn Christine Caven Ben Miller Brittany Harris Caitlin Mills Heidi Watson Rebeckah Sterns Desiree Hays Emily Younglove Bass T rum pet Jordan Cramer Sara Marrs Patrick Wright Tika Anderson Tony Jacobs Rae Marie Donaldson Lauren Brennan Jes Dillman Emily Sprik Jennifer Wilkerson Trom bone Lindsey Ramirez Nick Holden Ian Matthews Madelyn Lorenz Lauren Hausken Bethany Rush Alex Kellogg Sarah Jenson Emily Ohse Tim pani Kayla Younglove Mike Zaring Claire Dana Alyssa Alt Harpsichord Josh Ring C hoir Alberico, Ryne Hance, Kyle Morgan, Ariel Allen, Anthony Hauri, Crystal Morley, Elizabeth Baker, Ben Hayes, Lindsey Morley, Ian Beerbower, Kelly Hazen, Rebekah Naffziger, Ashley Bellamy, Brooke Hedge, Iordan Norden, Alyssa Boaz, Lisa Hill, Alii Palmer, Brad Boss, Jake Hoekstra, Shanna Paulsen, Ethan Bower, Jeremiah Holaway, Elisabeth Price, Amanda Bruns, Laura Holmes, Gwen Radcliffe, Megan Cable, Jonathan Hubbell, Tyler Raffauf, Ashley Cable, Kendra Huish, Jeremy Ramirez, Joel Carlson, Kaitlin Huntsman, Megan Ratliff, Amy Carr, Caleb Hurt, Keegan Recker, Taylor Caven, Christine Jackson, Cindy Reddick, Blake Cherney, Ben Jackson, Lisa Reed, Anna Close, Lindsay Jacobson, Hannah Richardson, Andrea Cochran, Sarah Johnson, Stephanie Richardson, Kristina Colon, Jessie Kee, M att Rinehart, Kristin Connell, Ayla Kellie, Molly Robison, Merrick Cook, Amanda Kohlmeier, Zachary Rodeheaver, Rebecca Corcoran, Derek Kunde, Josephine Rogers, Bekka Crofoot, Becca Lamm, Alyssa Sauter, Geoff Desrochers, Ashley LaMontagne, Andrea Seefeldt, Calley Devine, Libby Larcom, James Shrout, Ryan Dillard, Emily Larson, Michael Sloan, Nicole Domaoal, Rachel LeFevre, Chris Smith, Mario Dowell, Megan Leffel, Amber Sowards, Kelsey Drenth, Ryan Lenger, Rachel Spinnie, Nathan Dunahee, Andrea Peters Long, Melody Starner, Samantha Dunlop, Cameron Lowery, Rebecca Stephens, Kyrstin Emmons, Julie Marrs, Heather Sytsma, Brad Fields, Jenelle Maslan, Jeffrey Taylor, Hannah Fleschner, Laura McCague, Laura Taylor, Wesley Foster, Whitney McCormack, Caitlin Tollcnaar, Katharine Frazer, Neil Means, Seth Toms, Blaire Freed, Jackie Meyer, Bethany Towle, Michelle Frye, Cameron Mikhail, Audrey Vaughn, Hillary Funches, Antonio Mikhail, Jonathan Walker, Jason Geeding, Ben Miller, Ellen Wallace, Matthew Guenseth, Lil Miller, Nicole Waller, Nate Hackman, Jase Miller, Richard Ward, Sarah Hamilton, Tyler Moore, Andrew Williams, Alicia Willoughby, Heather Wilson, Kate Winters, Anna Yates, Nicole Young, Catherine Zeilenga, Bailey OLIVET NAZARENE UNIVERSITY and ©PNC present SOUNDS o f the SEASON Kresge Auditorium Larsen Fine Arts Center Olivet Nazarene University Thursday, Dec. 9, 2010 7 p.m. Friday, Dec. 10, 2010 7 p.m. Tickets: $5 for adults, $3 for students and seniors To purchase tickets in advance, call 815-939-5110. PCGUSH • SMOKAU • II P5I Piggush-Simoneau, Inc. is the proud sponsor of the GENERAL CONTRACTORS ONU Presents Community Series ONU Presents is also sponsored by: P r o v e n a e r n o f v JOURNAL Sc Mary's Hospital PEPSI R i v e r s i d e HeahhCare Funeral Homes. Inc. “Good evening and welcome to Centennial Chapel for the seventy- fifth annual presentation of Handel's Messiah on the campus of Olivet Nazarene University. What a fitting way for the campus and community to join together in celebration of the Advent season. In addition to the University Orchestra and Choral Union, this evening's presentation by the Olivet Music Department will feature a fine group of soloists and guest conductors. It is my prayer that the Lord will speak to each of us through these sacred texts and beautiful music.” John C. Bowling President “A great college needs great traditions. The annual presentation of the Messiah at Christmas time is one of the Olivet traditions that students, faculty, and community people hold in high esteem. From time to time, the representatives of all of these groups in the choir have added a dimension of excitement and genuine praise to God which has enriched the life of this community. Audiences are struck with the sincerity and vigor with which the great choruses are sung. From time to time, the conductors are performing their roles far above their normal level of artistic ability. God has used M essiah at Olivet as a special instrument of unity in the community as well as praise at Christmas time.” Dr. Willis Snowbarger, former Academic Dean of ONU A I OLIVET QW NAZARENE V I UNIVERSITY One University Avenue Bourbonnais, Illinois 60914 1-800-648-1463 www.olivet.edu jrurn messian 1 Hallelujah Chorus George F. Handel Soprano lu - jahl Hal • le - lu - jah! Hal - le lu jah! for the Lord Hal-le- the Lord God Om-nip - o-tent reign - eth. Hal-le- lu • jah! Hal • le • hi - jah! Hal - le • lu - jah! Hal - le - lu - jah! Hal - le - lu • jah! 3 reign reign 6 for ev - er and ev - er. Hal • le - lu - jahl Hal • le- Lords. Hal-le - lu -jah! Hal-le- and Lord of Lords,. Q jf >■ > .. > ^ — ^ ...... Kings, and Lord of Lords. Hal - le - lu jah! Hal • le- ev • er. for ev - er and ev - er. Hal - le • lu jah! Hal • le- i ev - er. for ev - er and ev - er. Hal - le - lu jahl Hal - le - ev * er, for ev • er and ev - er. Hal • le - lu - jah! Hal - le- OLIVET Department of Music NA ZARENE r UNIVERSITY Indent Recital 9:30 a.m . Monday, December 6, 2010 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Concerto in C Major D. Kabalevsky Movement I Rachel Tschetter, violin Desiree Hays, piano ****** Gesu Bambino P. A. Yon Kristin Rinehart, mezzo-soprano Andrea Richardson, piano ****** Sonata No. 3 G.F. Handel Adagio arr. S. Rascher Kristin Cheney, alto saxophone Josh Ring, piano ♦♦♦♦♦♦ Sacro-Monte Op. 55, No. 5 J. Turina Desiree Hays, piano ****** Horn Sonata in F Major P. Hindemith I. Maessig Bewegt Rebeckah Stems, horn Dr. Karen Ball, piano ♦♦♦♦♦♦ Aria di Barbarina (Le Gelosie Fortunate) P. Anfossi Chere Nuit A. Bachelet Sea Snatch S. Barber Why Do I Love You? (from Show Boat) J. Kem Calley Seefeldt, soprano Andrea Richardson, piano ♦♦♦♦♦♦ Vivo L. I. Gall Prelude No. 9 Shaun Whennen, guitar Seligkeit F. Schubert Kendra Cable, soprano Desiree Hays, piano ♦♦♦♦♦♦ 3 Elegies pour Basson et Piano E. Naoumoff I- Intense et doux Brianna Robins, bassoon Dr. Gerald Anderson, piano ♦♦♦♦♦♦ Concerto in C Minor B. Marcello Allegro Katelyn Dunkman, oboe Desiree Hays, piano ♦♦♦♦♦♦ Le Lever de la Lune C. Saint-Saens Andrea Dunahee, soprano Dr. Jeff Bell, piano ♦♦♦♦♦♦ Concerto No.l in G major W. A. Mozart Allegro Maestoso Rose Hall, flute Andrea Richardson, piano ♦♦♦♦♦♦ Intermezzo J. Brahms Kyrstin Stephens, piano ♦♦♦♦♦♦ Concerto for Double Bass A. Capuzzi Rondo Zachary Kohlmeier, trombone Josh Ring, piano Concertino T. Mayuzumi Movement I Melody Abbott, marimba Dr. Gerald Anderson, piano Upcoming Events Thursday- Friday, December 9-10, 2010 Sounds of the Season * 7:00pm- Kresge Auditorium Tuesday, January 11, 2011 Orchestra Clinic Concert* featuring Nielson & Young 7:00pm- Centennial Chapel * These events require a ticket. Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY 7:00 PM Thursday & Friday, December 9 & 10,2010 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Overture on French Carol Tidings of Joy University Orchestra ♦♦♦♦♦ Oh Come, All Ye Faithful God Rest Ye Merry Gentlemen Saxophone Ensemble ♦ ♦♦♦♦ When Jesus was a Tiny Baby Concert Singers ♦ ♦♦♦♦ I Heard the Bells on Christmas Day Silent Night Christmas Wish Testament Men’s Choir ♦ ♦♦♦♦ Christmas...In About Three Minutes Handbell Choir ♦ ♦♦♦♦ Greensleeves Still, Still, Still Harp Ensemble ♦ ♦♦♦♦ Carol of the Bells Silent Night (Still Nacht, heilige Nacht) Mary, Did you Know? Chrysalis Women’s Choir ♦♦♦♦♦ 10 MINUTE INTERMISSION Selections from “Home Alone” Concert Band ♦ ♦♦♦♦ One Quiet Moment Concert Singers ♦ ♦♦♦♦ Danse de les Mirlitons Flute Ensemble ♦ ♦♦♦♦ Yo Tannebaum Winter Wonderland Jazz Band ***** Durolph Dr. Jeff Bell- reading ***** England’s Carols Medley Saxophone Ensemble ♦ ♦♦♦♦ Love Came Gently Deck the Hall in 7/8 Of the Father’s Love Begotten Orpheus Choir ***** The Christmas Story All Ensembles Thank you for turning off cellular phones and for refraining front the use offlash photography University Orchestra & Concert Singers - Dr. Neal Woodruff, conductor Saxophone Ensemble- Angela Reedy, student conductor Testament Men’s Choir & Concert Band - Prof. Ryan Schultz, conductor Handbell Choir & Flute Ensemble- Prof. Katie Nielsen, conductor Harp Ensemble- Dr. Charles Lynch, conductor Chrysalis Women’s Choir - Prof. Kay Welch, conductor Jazz Band- Dr. Don Reddick, conductor Orpheus Choir - Dr. Jeff Bell, conductor Upcoming Events Tuesday, January 11, 2011 Orchestra Clinic Concert* featuring Nielson & Young 7:00pm- Centennial Chapel *This event requires a ticket. Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLI VET Department of Music NAZARENE r UNIVERSITY trident Recital 9:30 a.m . Monday, December 13, 2010 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation The Glory and the Grandeur R. Peck Chris Field, Kaleb Soller, Joel Deckard, percussion ♦ ♦♦♦♦ Ballade No. 4, Op. 52 F. Chopin Derek Corcoran, piano ♦ ♦♦♦♦ Sebben Crudele A. Caldara Andrew Nielson, baritone Ben Cherney, piano ***** Prelude in A Minor F. Carulli Ian Morley, guitar ♦ ♦♦♦♦ Bewitched R. Rodgers Rachel Lenger, mezzo-soprano Andrea Richardson, piano ♦ ♦♦♦♦ Romance No. 1 R. Schumann Joy Matthews, oboe Kate Hausken, piano ♦ ♦♦♦♦ Prelude No. 10 C. Debussy La Cathedrale engloutie Matt Gargiulo, piano ♦ ♦♦♦♦ Etudes Simples No.l L. Brower Allegro A La Sor L.I. Gall Melanie Foiles, guitar Petite Suite A. Borodin Au Couvent Joy MacDonald, piano Upcoming Events Monday, December 13,2010 Organ Student Recital 5:00pm- Centennial Chapel Tuesday, January 11, 2011 Orchestra Clinic Concert* featuring Nielson & Young 7:00pm- Centennial Chapel *These events require a ticket. Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY Dr. Neal Woodruff, conductor featuring Nielson & Young, duo-pianists and Members of the Bradley-Bourbonnais Community High School, Kankakee High School, and Herscher High School orchestras Tuesday, January 11, 2011 7:00 p.m. Centennial Chapel PROGRAM Invocation Cinderella March (from Cinderella) Rodgers & Hammerstein Arr. Robert Russell Bennett Scherzo a la Russe Igor Stravinsky An Am erican in Paris George Gershwin Intermission Concerto in D Minor, FP61 Francis Poulenc Allegro ma non troppo Larghetto Finale Stephen Nielson and Ovid Young, pianos Scaramouche Darius Milhaud; orchestration Ovid Young III. Brazileira Thank you for turning off cell phones and for not using flash photography University Orchestra Dr. Neal Woodruff, conductor Flute/Piccolo Percussion Sarah Jensen Rachel Von Arb Melody Abbott Emily Ohse Diane Rankin Austin Lappe Kayla Younglove Marijke Bakker Bryce Parker Claire Dana Hope Olson Oboe Harp Hannah Pollock. BBCHS Kristen Kehl Rachel Fisher Brandi Harris, BBCHS Joy Matthews Emily Heinz Melanie Molina, BBCHS Katie Dunkman Cambria Thomas Meganna Miller. BBCHS Debra Jensen. BBCHS English Hom Piano/Celeste Katelynn Dunkman Josh Ring Viola Tianna Frey Clarinet Violin 1 Jennifer White Emily Martin Chantalle Falconer* Zach Thomas Elise Payne Rachel Tschetter Katie Hanley Lauren Hoenig Josh Woods Bassoon Amanda Winkle Beth Hatting. HHS Ashley Pitzer Jessica Brown Camille Norwick. BBCHS Brianna Robins Rebecca Walker Caitlin Mills ‘Cello Hom Lauren Beatty Allison Richmond Brittany Harris Amanda Luby Brian Kosek Rebeckah Stems Gaby Diaz. KHS Andrew Nielson Kyle Miller Patrick Lord-Remmert, Elisabeth Holaway Deidre Sheldon BBCHS Katelyn Flynn Tori Leppert. BBCHS Erin Evans Trumpet Emily Curran, BBCHS Sarah DiLeonardo Patrick Wright Heidi Watson Merrick Robison Violin 11 Ben Miller RaeMarie Donaldson Emily Borger Demetrius Henning, KHS Christine Caven Noah Boudreau, BBCHS Trombone Desiree Hays Emma Wieliczko. BBCHS lan Matthews Emily Younglove Lauren Hausken Jordan Cramer Bass Josh Ring Tika Anderson Sara Marrs Lauren Brennan Jesse Dillman Tuba Emily Sprik Tony Jacobs Alex Kellogg Lindsey Ramirez Jennifer Wilkerson Madelyn Lorenz Nick Holden Tinroani Bethany Rush Katelyn Emerson Mike Zaring Alyssa Alt Rachel Howard. BBCHS *Concertmaster NIELSON & YOUNG, duo-pianists Now in the 40lh year of a musical collaboration that continues to take them around the world, duo-pianists STEPHEN NIELSON & OVID YOUNG are veterans of more than 3,600 concerts in a fascinating array of venues. Those performance sites have included Moscow’s Tchaikovsky Hall and the Kremlin; Copenhagen’s Tivoli Concert Hall; India’s Chennai Academy of Music; Toronto’s Roy Thompson Hall; Germany’s Oberammergau Passionspiel Theatre; Bern, Switzerland’s Konzerthaus; England’s Coventry and Chester Cathedrals; Rome’s Basilica of St. Paul’s- Outside-the-Wall; Dallas’ Meyerson Symphony Center; Nashville’s Grand OP Opry and the Schermerhorn Symphony Center; Jerusalem’s Pavilion Concert Hall; Southern California’s Crystal Cathedral; and a l5'-century Roman amphitheatre at Caesarea ------among numerous other stages such as television studios and ocean-going cruise ships! Nielson & Young have been hosted for concerts at hundreds of America’s churches and college campuses, appearing by themselves or with symphony orchestras. On the artistic staff of the famed International Church Music Festival in Europe with Sir David W illcocks since 1985, Ovid and Stephen have been active church music leaders in addition to having held appointments as university professors in California, Texas, Indiana and Illinois. Individually and jointly, they are widely-published composers of music for solo and multiple keyboards, choir and orchestra. Stephen and Ovid’s extensive discography includes numerous recordings from the classical repertoire as well as from the ever-expanding output of their signature hymntune arrangements, many of which settings are for two pianos with orchestra. Currently residing in Dallas, TX, Stephen Nielson was a member of Olivet Nazarene University’s music faculty 1971 - 1978. Ovid Young resides in Bourbonnais, was a past Conductor of the Kankakee Valley Symphony Orchestra 1974 - 1984 and presently serves as Artist-in-Residence at O liv et. Nielson & Young are listed on the International Roster of Steinway artists. Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu 4. OLIVET Department of Music W NAZAR.ENE \f | UNIVERSITY A Night of Bassoon Dr. Neal McMullian bassoon featuring Dr. Karen Ball, piano Bourbonnais Bassoon Ensemble <&> <*& 7:00 p.m. Tuesday, January 18, 2011 Kresge Auditorium Larsen Fine Arts Center Program Invocation Bassoon Sonata in F Major William Hurlstone I. Vivace II. Ballade III. Allegretto IV. Moderato; Vivace Dr. Neal McMullian, bassoon Dr. Karen Ball, piano Royal Fanfare Antonio Soler, arr. by Alan Hawkins Blue Skies Irving Berlin, arr. by Lennie Niehaus Pigs Alan Ridout Bourbonnais Bassoon Ensemble: Brianna Robins, Allison Stith, Chris Raymond, Kavin Sampson The Five Sacred Trees John Williams I. Eo Mugna II. Tortan III. Eo Rossa IV. Craeb Uisnig V. Dathi Dr. Neal McMullian, bassoon Dr. Karen Ball, piano Fripperies Lowell E. Shaw No. 1 Medium No. 2 Fast No. 3 Waltz No. 4 Slow March Bourbonnais Bassoon Ensemble Variations on a Theme of Robert Schumann William Davis Dr. Neal McMullian, bassoon Dr. Karen Ball, piano Program Notes Bassoon Sonata in F - William Yates Hurlstone (1876-1906) is one of the intriguing might-have-beens of musical history. Although very highly thought of in his time, he died before his talent could come to full maturity. He published his first compositions at the age of nine and gained a scholarship to the Royal College of Music at the age of eighteen. He became a brilliant pianist, had his works widely performed, and returned to his college as Professor of Counterpoint by the age of twenty-five. Sadly, he died five years later of bronchial asthma. The Bassoon Sonata in F Major was written two years before his death and is one of his few compositions in print. Blue Skies - Blue Skies has become one of the many jazz standards by the legendary Irving Berlin. The song, written in 1926, gained immediate success. In 1927, Blue Skies was sung by Al Jolson in the film The Jazz Singer. Since that time, it has been performed countless times by many legendary singers such as Frank Sinatra, Mel Torme, and Bing Crosby. This arrangement for bassoon quartet is by Lennie Niehaus. Pigs (A Present for Gordon Jacob) - Alan Ridout was born in England in 1934. He taught composition at the University of Birmingham (England), the Royal College of Music, the University of Cambridge, and the University of London. “Pigs” was an affectionate contribution to Gordon Jacob's famous collection. He had pigs made of china, leather, w ood - feven m arzipan, and alw ays w elcom ed new additions. The Five Sacred Trees - John Williams is best known for his many film scores, including Star Wars, the Indiana Jones movies, E. T., Harry Potter, and many, many others. The Five Sacred Trees was written as a result of a request for a concerto by the great bassoonist Judith Le Clair, the current principal bassoonist of the New York Philharmonic. Because of the shape of the bassoon, it has long been associated with trees. The German word for bassoon, “faggot”, literally means a bundle of twigs, sticks, or branches bound together. The composer has given the following program notes for each movement. E Eo Mugna, the great oak, whose roots extend to Connla’s well in the “otherworld,” stands guard over what is the source of the River Shannon and the font of all wisdom. The well is probably the source of all music. The inspiration for this movement is the Irish Uilleann pipe, a distant ancestor of the bassoon, whose music evokes the spirit of Mugna and the sacred well. IE Tortan is a tree that has been associated with witches and as a result, the fiddle appears, sawing away, as it is conjoined with the music of the bassoon. The Irish Bodhran drum assists. III. The Tree of Ross (or Eo Rossa) is a yew, and although the yew is often referred to as a symbol of death and destruction, the Tree of Ross is the subject of much rhapsodizing in the literature. It is referred to as “a mother’s good,” “Diadem of angels,” and “faggot of the sages.” Hence, the lyrical character of this movement, wherein the bassoon incants and is accompanied by the harp. IV. Craeb Uisnig is an ash and has been described by Robert Graves as a source of strife. Thus, the ghostly battle, where all that is heard as the phantoms struggle, is the snapping of twigs on the forest floor. V. Dathi, which purportedly exercised authority over the Poets, and was the last tree to fall, is the subject for the close of the piece. The bassoon soliloquizes as it ponders the secrets of the Trees. Fripperies are short, light-hearted pieces, intended to give the quartet the opportunity to play in various styles. Each “frippery” has a unique character. #1 uses “swing” rhythms, #2 is a light piece in a “straight” rhythm, #3 is a syncopated waltz, and #4 is described by the composer as a “spooky” march. Variations on a Theme of Robert Schumann is a light piece based on the tune The Happy Farmer. This short set of variations was written for bassoon or contrabassoon and includes three variations and a cadenza. It was written by William Davis, Professor Emeritus of Bassoon at the University of Georgia. Upcoming Events Thursday January 27, 2011: Senior Recital; Drace/Jackson/Dunahee Kresge Auditorium, 7:00 pm Friday, January 28, 2011: Organ Dedication Concert Centennial Chapel, 7:00 pm Friday-Saturday, January 4-5, 2011: Band Winter Showcase Kresge Auditorium, 7:00 & 9:00 pm Tuesday, February 8, 2011: Composers of Olivet Concert Kresge Auditorium, 7:00 pm Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu M a r s h a l l & O g l e t r e e , a Massachusetts firm, created the organ’s digital component. Two contemporary innovators, Douglas Famiglia Artigiana Marshall and David Ogletree, FrATELLI RuFFATTI (Ruffatti formed this partnership in 2000 Brothers, Family of Artisans) of to design and build digital organs. Padua, Italy Their goal is to please even the — renowned most critical pipeless organ firm o f detractors. This firm is located pipe organ in the Boston area, a region of builders unique richness in American — created pipe organ building history and the instrument. In their design, innovation. they considered the University’s musical needs, as well as the architecture and acoustics of the Chapel. This firm has provided the world with the sweet sounds of Italian organs since 1940. Long respected throughout the United States and the world, their craftsmen are setting a new international standard o f excellence among pipe organ builders. to Centennial Chapel ^ Organ Dedication for the Ruffatti Pipe Organ Betty and Kenneth Hawkins Centennial Chapel Olivet Nazarene University Seven o’clock in the Evening Friday, January 28, 2011 Performed by O NU A lu m n i representing seven decades o f Olivet organ studies from the 1940s through the first decade o f the 21st Century John C. Bowling, University President, Host Miss Anna Smit ’10, Presenter Betty and Kenneth Hawkins Centennial Chapel Welcome and Invocation ...... John C. Bowling President of the University Sonata op. 65, No. 1...... Felix Mendelssohn-Bartholdy Allegro Moderato e serioso Timothy Nelson ONU Professor of Music and University Organist Bourbonnais, Illinois Hymn: Crown Him with Many Crowns (DIADEMATAl ...... George J. Elvey Remarks from the Organ Builder Piero Ruffatti Padua, Italy Liebster Jesu, wir sind hier BWV 7 3 1 ...... J. S. Bach Brother James’ A ir...... Dale Wood Katherine Ouwenga (1990) Manteno, Illinois Improvisation on A Mighty Fortress is Our God Donald P. Hustad Barbara Sass Griffin (1960) University Park, Illinois For All the Saints (SINE NOMINE1) and quoting Brahms’ Symphony No. I . arr. Susan Caudill Henry Purcell Trumpet Tune and quoting Luther's E m ’ fate Burg...... arr. Susan Caudill Susan Decker Caudill (1972) Del Mar, California Parita on Lobe den Herren Charles Callahan Entrada Ornamental Chorale Fanfare Jeff Hendricker (1989) Clinton, Illinois Komm, Gott Schopfer, heilger Geist from Grosses Orgelhuch 111 Ernst Pepping Daniel Mau (2007) Herscher, Illinois Canon, Fughetta and March on Ton-v-botel ...... William D. Gudger Eugene W. Foiles (1957) Xenia, Ohio 2 Now Thank We All Our God from Cantata 79 J. S. Bach - arr. Virgil Fox Mathew Gerhard (2009) Kokomo, Indiana 10-MINUTE INTERMISSION Toccata and Fugue in d minor BWV 565 ...... J. S. Bach Karen Larkins Youell (1967) Bradley, Illinois Legend in b minor, op. 98 (U.S. Premiere)...... Josef Klicka Rodney C. Loren (1985) Milwaukee, Wisconsin Joy to the World, the Lord is Come! (ANTIOCH') Raymond H. Haan W hat a Friend We Have in Jesus (CONVERSE! ...... Fred Bock Kenneth A. Bade (1949) Kankakee, Illinois LITANY OF DEDICATION Come, Thou Fount (NETTLETON)...... Joel Raney A Mighty Fortress (EIN’ FESTE BURG) and quoting the Toccata by Charles-Marie W id o r...... "Joel Raney Jane Lamping Holstein (1980) Wheaton, Illinois *assisting at the piano Marche aux Flambeau Scotson Clarke James E. Miller (1970) Louisville, Kentucky Fountain Reverie...... '...... Percy Fletcher Ovid Young (1962) ONU Artist-in-Residence Bourbonnais, Illinois Hymn: Love Divine, All Loves Excelling (BEECHER) John Zundel Benediction 3 A Litany for Dedication of our O rgan ADAPTED FROM PSALM 150 LEADER: For the gift of music and song PEOPLE: WE PRAISE YOU, O GOD, IN YOUR SANCTUARY! LEADER: For notes and rhythm and varieties of expression PEOPLE: WE PRAISE YOU, O GOD, IN YOUR MIGHTY FIRMAMENT! LEADER: For our ancestors in the faith, who invested in music for future generations PEOPLE: WE PRAISE YOU, O GOD, FOR YOUR MIGHTY DEEDS! LEADER: For all those who offer their musical gifts in this space PEOPLE: WE PRAISE YOU, O GOD, WITH TRUMPET SOUNDS! LEADER: For the inspiration and joy that music brings to our worship PEOPLE: WE PRAISE YOU, O GOD, WITH TAMBOURINE AND DANCE! LEADER: For those who with great artistry and expertise, brought our organ to this moment PEOPLE: WE PRAISE YOU, O GOD, WITH STRINGS AND PIPES! LEADER: For those who invested in the beautiful space which houses this organ PEOPLE: WE PRAISE YOU, O GOD, W ITH CLANGING CYMBALS, WITH LOUD CLASHING CYMBALS! LEADER: For music which will be produced through these pipes and keyboards for generations to come PEOPLE: WE PRAISE YOU, O GOD, WITH EVERY BREATH THAT WE TAKE, WITH EVERY SONG THAT WE SING, WITH ALL THAT WE ARE WE PRAISE YOU, O GOD. A P r a y e r O f D e d i c a t i o n Eternal God, our praises join with the songs of heavenly choirs and the music of the universe. May this organ encourage our praise and lift our singing. May the music it produces bring our prayers to You in times of joy and times of sorrow. Trusting in Jesus Christ, we dedicate this organ in Your name, O God, Now and always. Amen. d About This Evening’s : TIMOTHY NELSON is in his 35th BARBARA SASS G RIFFIN ’60 has year as professor of music at ONU. been a church organist since 1956 He holds the AAGO Certificate from when she was in high school. After the American Guild of Organists. graduating from ONU and earning A former dean of the Kankakee a master’s in music education from AGO chapter, Timothy has served VanderCook College of Music, as organist in several Kankakee- Barbara taught children in K-6 grades area churches, including College for 38 years, retiring from the Steger, Church o f the Nazarene. He was a 111., School District in 1997. The most student of Jerald Hamilton at the recent of her several church organist University of Illinois, later studying assignments was the Crete, 111., with Richard Enright and Wolfgang United Methodist Church where Rubsam at Northwestern University, she served for 25 years before her the institution which awarded retirement in 2006. Married for him the doctor of music degree. 50 years to Ted Griffin (ONU A versatile performer, Timothy is music alumnus), Barbara speaks a respected recitalist and clinician proudly o f their two children throughout the Chicago region. and three grandchildren. KATHERINE OUWENGA ’90 SUSAN DECKER CAUDILL ’72 is a registered nurse at Provena and her husband, Steve, were on St. Mary’s Hospital in Kankakee. staff for 13 years at Shadow Presently pursuing a masters of health Mountain Community Church administration degree at Governor’s with Dr. David Jeremiah in San Diego. State University, Katherine studied Susan presided at a 4-manual, organ at ONU with Timothy Nelson. 117-rank hybrid pipe and electronic Her current organist duties are at organ and also arranged for and Manteno Church of the Nazarene. directed a 40-piece orchestra and A member of the Salvation Army various singing ensembles. She now Advisory Council, she resides in writes and performs while maintaining Manteno with her husband, Richard. a new career in real estate with Steve. She is the mother of Erin Rogers A former student of Ovid Young, (ON U ’05), grandm other o f Kate, and she also studied on the West Coast expectant grandmother of Samuel. with Ted Alan Worth and 5 R ichard Untried. The Decker EUGENE FOILES ’57 was an Quadrangle on Olivet’s campus organ student of Kenneth Bade while is named for Susan’s father, a music major at ONU. He’s also a Dr. Gerald Decker, longtime board good singer and a facile pianist. He member and supporter of ONU. spent 30 years as a successful choral director, the last 23 of those in JEFF HENDRICKER ’89, music Xenia, Ohio, where he is now retired education graduate of ONU, but continuing as the organist at studied organ with Timothy Nelson. Westminster Presbyterian Church. He was a member of Olivet’s Orpheus Choir and today brings all those MATHEW GERHARD ’08 experiences to his work as organist, graduated from ONU with a degree worship coordinator and director in church music, studying organ of the Contemporary Choir at First with Timothy Nelson. He also United Methodist Church of Lincoln, earned a master’s degree at California 111. During the school year, Jeff can Baptist University in Riverside, also be found teaching a fifth grade studying choral conducting there general music class, directing a high with Dr. Gary Bonner and organ school choir, rehearsing a school with Beverly Howard. He has served musical or working with as organist-music director at First band students in his hometown Baptist Church in Glendale, Calif., o f d in to n , 111. and, currently, at Zion United Methodist Church in Kokomo, Ind. D A N IEL MAU ’07 was an organ student of Timothy Nelson at KAREN LARKINS YOUELL Olivet. He is currently finishing ’67 completed a trifecta — and more the master of church music program — in her undergraduate days at ONU, at Concordia University, Wis., graduating cum laude with a voice where he studies organ with James major plus minors in organ, piano Freese. He has played at several and choral conducting. Studying churches of various worship organ at Olivet with Wanda Kranich, traditions in the Kankakee area and and later with Rodney Loren and currently serves as organist o f Trinity David Schraeder, Karen holds three Lutheran Church in Herscher, 111. master’s degrees — organ, voice 6 and choral conducting — from the KENNETH BADE ’49 studied with Chicago College of Performing two organ teachers while a music Arts of Roosevelt University. Her major at Olivet: Dr. Ella Leona Gale professional music experience has and Irving Lauf. After he graduated ranged from singing in the Chicago from Olivet, he earned the master Lyric Opera Chorus to entertaining of music degree from the University in Midwest supper clubs to serving of Illinois where his organ studies as organist and/or choir director were with the eminent Bach scholar, for several area churches. For several Russell Hancock Miles. Ken was the recent years, she served in the music first organist in the history of the ministries of St. Michael Catholic School o f Music selected to perform as Church in Orland Park, 111., and soloist with the University o f Illinois presently plays at St. Margaret Symphony Orchestra. Following his Mary Church in Herscher, 111. teaching tenure at ONU, he served 37 years as the beloved organist an d R O D N E Y L O R E N ’85 was named director of music at Asbury United Music Teacher of the Year by the Methodist Church in Kankakee, 111. Milwaukee, Wis., Civic Music Association in 2006. He spent the JANE LAMPING HOLSTEIN summer of 2010 as a Fulbright Scholar ’80 has served as editor with Hope in Hungary and the Czech Republic. Publishing Company fo r m ore After graduating from Olivet with than 15 years and was an integral majors in music education and part o f the team that compiled that church music, he earned an M.M. publisher’s new Worship and Rejoice in Organ from Indiana University hymnal. Busy as an arranger, ch o ral and the Ph.D. in Music Education clinician, organist, worship p la n n e r from the University of Illinois. He and concert artist, Jane studied organ has served as a visiting lecturer on at Olivet with Timothy Nelson and the U of I faculty, as the Arts in later received the doctor of music in Education program director for the organ performance from Northwestern Milwaukee Symphony Orchestra, and University. In addition to her editorial he currently teaches music to children duties at Hope, she is director of in kindergarten through fifth grade music ministries at First Presbyterian at a Milwaukee area public school. Church in River Forest, 111. As a gifted 7 concert organist, Jane has joined operatic singers Hale O ' Wilder. forces with Joel Raney for a series of Active both as pianist and organist, duo-concerts featuring the piano and he is listed on the International Roster organ. Joel joins Jane this evening to of Steinway Artists, and also has perform one of their concert offerings. played hundreds of organs throughout the U.S. and abroad. In 1985, O N U JAMES E. MILLER ’70 studied conferred on Ovid the degree doctor organ with the late Wanda Kranich of letters honoris causa, and in 2007 he during his student days at Olivet. returned to campus, appointed to the In his graduate studies at Southern music faculty as artist-in-residence. Seminary in Louisville, Ky., his organ teacher was the noted organist, composer, author and pedagogue Dr. Donald P. Hustad. Longtime Olivetians may recall that Don Hustad served on ONU’s music faculty in the early 1950s. Jim Miller is president and CEO of the Miller Pipe Organ Company in Louisville, and continues to be active as a church musician. OVID YOUNG ’62 studied organ at ONU with Kenneth Bade. He later studied with Robert Reuter at the Chicago College of Performing Arts at Roosevelt University. A widely-published composer of choral, orchestral and keyboard music, Ovid has concertized for 45 years in most of the major musical centers of the world — chiefly as half of the duo-piano team of Nielson O ' Young — and, for 20 years, as pianist/ arranger/conductor with the renowned SPECIFICS ABOUT THE RUFFATTI PIPE ORGAN AT OLIVET NAZARENE UNIVERSITY • One-of-a-kind, designed specifically for Centennial Chapel B e t t y a n d K e n n e t h H a w k i n s • 125 ranks - 75 ranks of donated the stunning Ruffatti pipe handmade, wind-blown pipes and organ in addition to their lead a digital component of 50 ranks gift that made the construction of • More than 4.000 pipes Centennial Chapel possible. Their • Longest pipe: 24 feet gift for the organ was matched by a • Shortest pipe: One inch second anonymous gift used to create • All metal pipes hand-polished the organ chamber, chancel area and • 4-manual console provide enhancements for the organ. A FEW INTERESTING FACTS ABOUT THIS ORGAN • Each pipe was tuned and voiced individually. • Tanned leather used in the bellows comes from a tiny village in southern Italy. • Sipo mahogany wood used for the visible casework, windchests. reservoirs, supports and some pipes comes from Africa. • All wooden pipes are assembled with tongue-and-groove. an elaborate technique that provides the utmost stability under any environmental condition. • All reed stops are individually made. • Trompette en chamade. the Ruffatti signature stop, has Ken is a graduate o f Olivet, class o f brass resonators that look like orchestral trumpets. 1953. He is a retired businessman • Malaysian tin and 99.99% pure who for over 25 years rendered lead are used to make the metal valuable service to his alma mater by organ pipes. directing and advising the University’s • Toe stud labels light when the toe insurance program. Betty and Ken studs are pressed. met following the death of their • After manufacture and before spouses. After their marriage, Betty “ shipping, this organ was completely assembled in the was soon introduced to the Olivet erecting room of the Ruffatti family. From that first moment, she factory in Italy. Every part of the has been an enthusiastic supporter instrument was checked there. of the University. “E d u c a t i o n w i t h a C h r i s t i a n P u r p o s e .” This statem ent is m ore than a motto; it is an expression of the mission of Olivet Nazarene University. Since its founding in 1907, Olivet has provided an educational experience that integrates faith, learning and living. This mission is expressed in the academic, social and spiritual life of the University. The Betty and Kenneth Hawkins Centennial C h a p e l, hom e o f the m ighty Ruffatti organ, is one more expression of this missional legacy. Through the prayers and sacrificial support of Olivet alumni and friends, countless generations will be forever changed because of the events that will transpire within these walls. OLIVET NAZARENE ❖UNIVERSITY www.olivet.tdu 800-648-1463 4. OLIVET Department of Music \W N A Z A R E N E W I UNIVERSITY Andrea Dunahee, soprano Dr. Gerald Anderson, piano Cynthia Jackson, contralto Andrea Richardson, piano Paul Drace, baritone Dr. Ovid Young, piano ♦♦♦♦♦ 7:00 p.m. Thursday, January 27, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Ah! Per sempre io ti perdei (from 1 Puritan!) V. Bellini Ubriaco non son io (from La Finta Semplice) W.A. Mozart Mr. Drace Voi, che sapete (from Le Nozze di Figaro) W.A. Mozart La Pastorella F. Schubert Mrs. Dunahee Le Charme E. Chausson Palisir d ’amour G. M artini Mrs. Jackson from Spanisches Liederbuch I H. W olf Nun wander, Maria Auf dem griinen Balcon In dem Schatten meiner Locken Mr. Drace Die Lotusblume R. Schum ann Lachen und Weinen F. Schubert Mrs. Dunahee G ia’il sole dal Gange A. Scarlatti Che fiero costume G. Legrenzi Mrs. Jackson Epouse quelque brave fille (from M anon) J. Massanet Bergere Legere J. Weckerlin Je La Vis S ’arreter S. R achm aninoff Mr. Drace Le Lever de la Lune C. Saint-Saens Mon coeur s’ouvre a ta voix (from Samson et Dalila) C. Saint-Saens Mrs. Dunahee Wie Melodien J. Brahm s W iegenlied J. Brahm s Mrs. Jackson from Morike Lieder H. W olf In der Friihe Lebe wohl! Verborgenheit Mr. Drace Selections from Peter Pan L. Bernstein W ho Am I? Peter. Peter M y House Never-Land (with Mrs. Jackson) Mrs. Dunahee As Some Day It May Happen (from The Mikado) A. Sullivan On a Clear Day (from On a Clear Day You Can See Forever) B. Lane Mr. Drace Simple Gifts (from Old American Songs) arr. A. Copland Lullaby (from The Consul) G. Menotti 1 Am Easily Assimilated (from Candide) L. Bernstein Mrs. Jackson Selections form Old American Songs) arr. A. Copland The Boatmen’s Dance The Dodger Long Time Ago Simple Gifts I Bought Me A Cat Mr. Drace Soave sia il vento (from Cosi fan Tutte) W.A. Mozart Mrs. Dunahee Mrs. Jackson Mr. Drace ♦ ♦ ♦ ♦ ♦ Thank you for turning off cell phones and for not using flash photography during the performance. NOTES Ah! Per setnpre io ti perdei Riccardo had been promised Elvira's hand in marriage by Lord Valton but, returning to Plymouth, he finds that she is in love with Arturo (a Royalist), and will marry him instead. He confides in Bruno. Ubriaco non son io Simone, a servant of the young officer Fracasso, is flirting with Giacinta’s maid, Ninetta. Translation: 1 am not drunk, no, no, just a little merry, but the ring is still mine, and I can demand it. Even if the wine speaks in me, that which is mine remains mine. Voi, che Sapete Although the character, Cherubino, who performs this piece in Mozart’s opera Le Nozze di Figaro is a young man, the part is portrayed by a female. He sings with the emotion of a love- struck young man and is overcome by his his own feelings. Translation: You who know what love is, Ladies, see if I have it in my heart. I'll tell you what I'm feeling; it's new for me, and 1 understand nothing! 1 have a feeling, full of desire, which is by turns delightful and miserable. I freeze and then feel my soul go up in flames then in a moment I turn to ice. I'm searching for affection outside of myself. I don't know how to hold it, nor even what it is. I sigh and lament without wanting to, I twitter and tremble without knowing why, I find peace neither night nor day, but still 1 rather enjoy languishing this way. You who know what love is, Ladies; do I have it in my heart. La Pastorella Here German composer Franz Schubert writes in the Italian style and complements Carlo Goldini's poetic lyrics describing a lovelorn shepherdess. Schubert uses a mixture of supple harmonies and graceful ornamentation that make this song feel as if a native Italian composer had constructed it. Translation: The little shepherdess goes happily through the meadow with a little lamb at her side singing in freedom. If innocent love were what her shepherd liked, the beautiful shepherdess would always be happy. Le Charme With a falling melody, Chausson (1855-1899) shows the singer literally falling in love as the song progresses. There is a sense, though, that the singer is resisting — the melody avoids falling down to the tonic note of the scale. Finally, the singer reaches resolution at f aimais - “1 loved you.” The singer does not hold that tonic pitch, and the line continues to descend as the tear falls; even the final note in the piano does not reach a definitive resolution, with the final pitch played being the third, not the tonic—capturing both the beauty and hesitation of falling in love. Translation: When your smile surprised me, I felt a shudder through my entire being, but what tamed my spirit at first 1 did not recognize. When your glance fell on me, I felt my soul melt, but what that emotion was, at first I could not answer. What conquered me forever, was a charm more sad; 1 did not know that I loved you until I saw your first tear. Plaisir d’amour Martini’s (1741-1816) song, composed in 1780, took its libretto from a poem by Jean de Florian’s romance, Celestine. The classical French composer Hector Berlioz arranged the piece for orchestra in 1859. Translation: The pleasure of love lasts only a moment; the pain of love lasts a lifetime. 1 gave up everything for ungrateful Sylvio; he is leaving me for another lover. “As long as this water will run gently toward this brook which borders the meadow, I will love you," Sylvio told me repeatedly. The water still runs, but he has changed. Spanisches Liederbuch I Wolf was famous for his use of tonality to reinforce meaning. Concentrating on two tonal areas to musically depict ambiguity and conflict in the text became a benchmark of his style, resolving only when appropriate to the meaning of the song. His chosen texts were often full of anguish and inability to find resolve, which gave a wandering tonality, unable to return to the home key. He sought out texts that were not used by other composers of his time. Nun wander, Maria Translation: Ride onward, sweet Mary, ride onward, keep on, the roosters are crowing, we’re close to the town. Ride onward, beloved, where comfort waits; we’ll soon be arriving at Bethlehem’s gates. And there you may slumber safe and warm. The roosters are crowing, we’re nearing the town. See how you falter, so weak and weary! Nor can I ease your pain, dearest Mary. Take heart, for shelter awaits us now. The roosters are crowing, we’re nearing the town. Oh! That your time had arrived, little dear; good news that I’d give if it were done. The roosters are crowing... come, near is the town. Auf dem griinen Balcon Translation: From her balcony green my maiden peeps at me who waits below. With her eyes she coyly beckons, but her finger always says no. Luck so seldom aids young lovers when they seek a new adventure. I myself, I dared to venture, but here also doubts assail me. First she flatters, then she quarrels, when I pass beneath her window. Always, as one knows with maidens, they must mix their joy with woe. How, alas, can I endure it, all her coldness , all my fire, and her love my one desire! But, 1 fear, we’ll ne’er be mated. As a lover, I seem fated, for this cold and charming beauty, she has never once embraced me. She’s bewitched me. With her eyes she coyly beckons but her finger always says no! In dem Schatten meiner Locken Translation: In the shadow of my tresses, fast asleep my loved one lies. Shall I wake my love? Ah, no! With such care I comb my curling locks early in the morning, but in vain is all my trouble, by the wind they’re soon entangled. Carefully I comb my ruffled locks, early every day; yet for nothing is my trouble, for the wind makes them disheveled yet again. The shadows of my tresses, the whispering of the wind, have lulled my darling to sleep. I must listen to her complain that she pines for me so long, that life is given and taken away from her by this, my brown cheek, and she calls me a snake; yet he fell asleep by me. Shall 1 awaken my love? Ah, no! Die Lotusblume Taken from a poem written by Heinrich Heine, Robert Schumann composed this song as a part of his Myrthen collection. This collection is a compilation of 26 poems by various authors which encompass themes involving love and marriage. He dedicated this collection to his wife, Clara, on their wedding day. Translation: The Lotus flower fears before the suns splendor, and with drooping head she dreamily awaits the night. The moon, he is her lover. He wakes her with his light and to him she happily unveils her devoted flower-face. She blooms and glows and shines and stares mute in the heavens. She exhales and weeps and trembles with love and love's pain. Lachen und Weinen This piece is one of the six lied-settings of Friedrich RUckert poems that he composed while recuperating from the reoccurring illness that would later take his life. It focuses on a young girl's discovery of her ever changing emotions. Schubert constructs this piece as a sympathetic response and writes the accompaniment as light-hearted and reassuring for her. Translation: Laughter and tears at any hour rest on love in so many ways. In the morning I laugh for joy, and why I now weep in the evening glow, is something unknown to me. Tears and laughter at any hour rest on love in so many ways. In the evening I weep for sorrow; and why you can awake in the morning with laughter, I must ask you, o my heart! Scarlatti's (1660-1725) music forms an important link between the early Baroque Italian vocal styles of the 17th Century, with their centers in Florence, Venice, and Rome, and the classical school of the 18th Century. This famous aria is from one of Scarlatti’s early operas entitled L'honesta negli amori from 1680. Translation: Already, from over the Ganges, the sun sparkles more brightly and dries every drop of the dawn, which weeps. With the gilded ray it adorns each blade of grass; and the stars of the sky it paints in the field. Che fiero costume Legrenzi’s (1626-1690) song is an intense piece. The pianist plays a chord and the singer comes right in, ranting about Cupid, and how he has a tendency to make us humans fall in love with the wrong people. The singer knows that the person she longs for mistreats her, yet she can’t help but have amorous feelings. The text is relentless, in constant eighth or sixteenth notes, with the exception of a few sustained cries of frustration on half notes. Translation: How cruel are the ways of that pitiless god, to make us worship him by making us suffer! The treacherous deity compels me in my passion to idolize a pleasing appearance. O evil fate, that a sightless infant, his mouth still full of milk, can command my respect. Yet this barbarous tyrant has entered through my eyes to bring me grief. Epouse quelque brave fille Des Grieux has entered the seminary of Saint-sulpice. His father, Le Compte, tries to dissuade his son from this new life, in order to preserve the family name. Translation: What big words those are! What path have you then been following, and what do you know, about life to think that it ends there? Marry some fine girl, worthy of us, worthy of you; Become a family man, no worse nor better than me. Heaven does not want more; that is your duty, do you understand? Virtue that makes a lot of noise is not virtue! Bergere Legeri Translation: Capricious, delicious, adored shepherd maid, You’re charming, yet harming my heart and I’m afraid. In your face rebelling, you seem both false and true; Though you’re oft repelling, I’ll ever pursue. When you quote so boldly, the laws of cupid’s court, I must here you coldly, your love’s only sport. Je La Vis S’arreter Translation: When yesterday we met, her words and glances faltered; In silence I, too, stood before her. O, Heavens! How her looks had changed through the years. Her eyes lost their fire and her beauty was quickly fading. While I stood and watched her, coldly she offered me her hand and her smile was sad and yearning. I wanted to break the spell of silence, speaking and saying: ‘twas heaven checked my words! Then quickly she drew her hand away and made her last endeavor saying, Good bye! She then whispered, till our next meeting. Oh, how 1 wanted to say this is our one, last greeting farewell, “poor soul, even though she was dear to me as ever”. Le Lever de la Lune Although this song is not taken from an opera, its composition has the same feel of an aria. Its flowing melodic line and dramatic textual content make it comparable to any true aria. Translation: Like a beautiful young woman, Silent and solitary, the moon rises mysteriously from flanks of silver cloud. Sweet daughter of heaven, with slow and silent step you glide through the air where shines your crown, and your passing is surrounded by the splendid cortege of the suns of the night. What do you do when you are far away from us, when the dawn fades your charming smile and your soft light from our eyes, out saddened eyes? Do you, like Ossian, plaintively keening bury your languishing beauty in the refuge of pain? Sw eet daughter of heaven, do you know sorrow? Now do you dream ol its light? Your sumptuous chariot rolls above the mountains. If you can, slow its journey and pour your peaceful rays over the sea. Mon coeur s’ouvre a ta voix From Saint-Saens' opera Samson et Dalila, the emotional and provocative piece is performed by Dalila as she sings to Samson about her need for his love. The beautiful accompaniment complements the passionate architecture that the singer produces. As the song progresses, it evokes deep emotions within the listener as Dalila sings to her beloved. Translation: My heart opens to your voice like the flowers open to the kisses of the dawn! But, oh my beloved, to better dry my tears, let your voice speak again! Tell me that you are returning to Delilah forever! Repeat to my tenderness the promises of old times, those promises that I loved! Ah! Respond to my tenderness! Fill me with ecstasy! Like one sees the blades of wheat that wave in the light wind, so trembles my heart, ready to be consoled, by your voice that is so dear to me! The arrow is less rapid in bringing death, than is your lover to fly into your arms! Ah! Respond to my tenderness Samson, Samson. I love you! Wie Melodien Composed in 1886, this piece by German composer Johannes Brahms (1833-1897) features an evocative setting of Klaus Groth's poem in which melodies bloom like flowers and words fade like the mist above arpeggiated figures. The song has a soaring, lengthy melodic line, typical of Brahms, which unfolds in three varied verses. Translation: Just like a melody to draw me so gently through my mind as flowers in the Springtime, as fragrance floating by. But when imprisoned in the poem that rests before my eyes, to misty gray it fades like vapor from my breath. And still, aroma from my verses will linger in the buds, then softly come unbound all mysteries before my eyes to unfold. W iegenlied Brahms's Lullaby or Cradle Song is the common name for a number of children's lullabies with similar lyrics and the same melody, the original of which was Johannes Brahms' Wiegenlied: Guten Abend, gute Nacht ("Good evening, good night"), Op. 49, No. 4 (published in 1868). The first verse is taken from a collection of German folk poems called Des Knaben Wunderhom: the second stanza was written by Georg Scherer in 1849. The lullaby's melody is one of the most famous and recognizable in the world, used by countless parents to sing their babies to sleep. Translation: Good evening, and good night, with roses adorned, with carnations covered, slip under the covers. Early tomorrow, so God willing, you will wake once again. Good evening, and good night. By angels watched, who show you in your dream the Christ- child's tree. Sleep now peacefully and sweetly, see the paradise in your dream. Mdrike Lieder In 1988, Hugo Wolf composed the Morike lieder at a fast pace while vacationing in Perchtoldsdorf. For these lieder he chose to set poems of Edward Mdrike. In der Friihe Translation: And still no sleep has cooled my eyes! Already through my window i can see that day is dawning. My mind is so distressed with anguish, that I find no peace or rest, but only dreams alarming. Lost one, doubt thyself no longer, troubled spirit! Courage! For from every steeple, bells of morning wake from slumber. Lebe wohl! Translation: Farewell! You do not know what despair these words have brought to me. With undaunted countenance you said, with heart so carefree, “farewell!” A thousand times I these words have spoken in the hope that my sad heart might at last by them be broken! Verborgenheit Translation: Peace. O world, grant me peace. Lure me not with love’s sweet bounties. Let my heart untrammeled, cherish all its rapture, all its pain. Ah, I know not why 1 grieve. It is an unknown, poignant sadness. Every dawn through tears that blind me, I behold the light Gia il sole Dal G ange of day. Often I feel my senses wane, then a ray of hope enthralls me, through the darkness, closely holds me. Joy divine then fills my breast. Songs from Peter Pan Although Bernstein’s Peter Pan was eclipsed by the success of another musical of the same name by Mark Charlap. the music still holds great integrity. Bernstein creates an intimate and entertaining selection of three female pieces performed by Wendy that give great insight into the mind of a young girl. The last piece, Never-Land, is performed by two mermaids wishing you a wonderful time whenever you visit this mystical place! As Some Day It May Happen This song is performed by Ko-Ko, Lord High Executioner of the town of Titipu, and the male chorus. Ko-Ko is asserting himself by reading off a list of people who would not be missed. On a Clear Day The musical has the character Daisy Gamble who has a nasty smoking habit, which will interfere with the chances of her fiance, Warren, for a job with great benefits. She seeks help from a psychiatrist, Dr. Mark Bruckner, to stop smoking. When he hypnotizes her, she describes living a previous life in late 18th Century England as Melinda Wells, who died in her late twenties from circumstances beyond her control. Simple Gifts The song was largely unknown outside of Shaker communities until becoming famous through Copland’s (1900-1990) score for Martha Graham's ballet Appalachian Spring in 1944. Copland used Simple Gifts a second time in 1950 in his Old American Songs for voice and piano. Many people thought that the tune was a traditional Celtic one but both the music and original lyrics are actually the compositions of Joseph Brackett, Jr. Lullaby The Consul was composer and librettist Gian Carlo Menotti's (1911-2007) first full-length opera, and it was particularly successful. It premiered on March 1, 1950 at the Schubert Theater in Philadelphia and was awarded the Pulitzer Prize for musical compositions, a New York Drama Critics Circle citation for best musical play, and a Donaldson award for best musical play. Tonight’s aria a grandmother sings to her grandson, her lullaby a beautiful expression of love and tenderness, even though she is fully aware that the child she holds has just died. The dissonance in the chords provides a macabre tension as the song ends. 1 Am Easily Assimilated (Old Lady’s Tango) Candide, an operetta by Leonard Bernstein (1918-1990), is based on the novella of the same name by Voltaire. First performed in 1956 with a libretto by Lillian Heilman, since 1974 it has been generally performed with a book by Hugh Wheeler that is more faithful to Voltaire's novel. Although unsuccessful at its premiere, Candide has achieved enormous popularity, and it is popular among major music schools as a student show because of the quality of its music and the opportunities it offers to student singers. Tonight's aria is reflective of my time at Olivet Nazarene University. As a non-traditional undergraduate student, and with the relationships I have formed here, 1 believe I have proven that ”... I am easily assimilated!” Old American Songs Aaron Copland arranged these songs in 1950. They vary in different forms of folk song literature. The Boatmen’s Dance is a minstrel song from the year of 1843. The Dodger is a campaign song, which is clearly illustrated by the text of the selection. Long Time Ago is the ballad of the set. Simple Gifts is an old Shaker hymn, which Copland used in other compositions, including Appalachian Spring. I Bought Me a Cat is a children’s song, which uses animal sounds that would be appealing to young children. Soave sia il vento Translation: Gentle is the wind, calm is the wave, and every one of the elements answer w a rm ly to youlQiiYriftNazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY A Ministry in Music Dr. Jeff Bell, conductor 2011 Winter Tour Pekin, IL Decatur, IL Watseka, IL PROGRAM SELECTED FROM: A Mighty Fortress is Our God Luther; arr. Mueller Alma Mater B. Carmony Amazing Love! D. Rasbach Be Ye Glad arr. B. Greer Great Is Thy Faithfulness arr. J. Rouse How Deep the Father’s Love arr. J. Bell I’m Gonna Sing ‘til the Spirit Moves in My Heart M. Hogan Laudate R. Clausen Let Your Glory Fall arr. J. Rouse O, Mighty Cross arr. T. Fettke Prayer R. Clausen Rejoice in the Lord 16th Century English SAUL E. Hovland Song of Praise K. Nystedt The Lord Bless You and Keep You P. Lutkin The Star Spangled Banner arr. R. McKelvy Three recordings of Orpheus Choir are available: A Mighty Fortress Great Is Thy Faithfulness Love Came Gently PERSONNEL SOPRANO ALTO Laura Bruns Watseka, IL Amanda Cook Aurora. IL Ali Carter* Bourbonnais, IL Libby Devine Elgin, IL Christine Caven Boise, ID Emily Dillard Galesburg, IL Lindsay Close Flushing, MI Laura Fleschner Terre Haute, IN Andrea Dunahee Gibson City, IL Lillian Guenseth Galesburg, IL Taylin Frame Centreville, VA Lindsey Hayes Galesburg, IL Gwen Holmes Princeton, IL Rebckah Hazen Pekin, IL Laura M'Cague* New Lenox, IL Alii Hill Quincy, IL Megan Radcliffe Charleston, Wv Megan Huntsman Portland, IN Ashley Raffauf Homewood, IL Cindy Jackson* Herscher. IL Anna Reed Huntington, IN Stephanie Johnson Madison. WI Rebecca Rodeheaver San Diego, CA Andrea LaMontagne Kankakee. IL. Michelle Towle Waterville, VT Rebecca Lowery Kankakee, IL Sarah Ward Wheaton, IL Audrey Mikhail Joplin, MO Alicia Williams Tecumseh, MI Elizabeth Morley Valparaiso. IN Kate Wilson Daleville, IN Taylor Recker New Lenox, IL Samantha Starner* Chandler, AZ Hillary Vaughn Kankakee. IL BASS Heather Willoughby* Elkhart. IN Anthony Allen Bourbonnais, IL Jake Boss Tinley Park, IL Ben Cherney* Escanaba, MI TENOR Paul Drace Black River Falls, WI Caleb Carr Orangeville, IL Neil Frazer Spooner, WI Cameron Dunlop* Huntington, IN Ben Geeding Manteno, IL Kyle Hance Carthage, MO Jase Hackman Manhattan, IL Matthew Kee Yorkville, IL Keegan Hurt Kalamazoo, MI Seth Lowery Kankakee, IL Chris LeFevre Ashton, IL Merrick Robison Marion, IA Reuben Lillie Greenville, PA Brad Sytsma Grand Rapids, MI Seth Means Honey Creek, IA Wesley Taylor Joliet. IL Andrew Moore Hastings, MI Jason Walker Minneola. KS Ian Morley Valparaiso, IN Nate Waller* Oblong, IL Andrew Nielson Olathe, KS Brad Palmer Franklin, IN Joel Ramirez* Cicero, IL David Rice Traverse City, MI ACCOMPANIST Ryan Shrout Jacksonville, FL Andrea Richardson Bloomington, IL ♦Officer ORPHEUS CHOIR Orpheus Choir, now in its eighth decade of annual performances, represents Olivet in concerts on the university’s educational region (Illinois, Indiana, Michigan, and Wisconsin), and has sung at many general assemblies of the Church of the Nazarene. The choir was founded by Prof. Walter B. Larsen in 1932. Prof. Naomi Larsen, led the choir after her husband’s passing in 1957, conducting until 1972. Dr. D. George Dunbar served as conductor of Orpheus from 1972 until retiring in 1999. Appointed conductor of Orpheus Choir in 1999, Dr. Jeff Bell serves as Professor of Music at Olivet, where he earned an undergraduate degree in Music Education in 1981. He also earned the M.Mus. degree from the University of Illinois in 1983, and the Doctor of Arts degree from Ball State University in 1996. Orpheus Choir has appeared in concerts across the nation, as well as Canada, Mexico, and Israel. It has performed twice at the National Cathedral in Washington, D.C., and three times at the U.S. Air Force Academy in Colorado. Orpheus Choir was selected to sing at two national Music Educators National Conference conventions in California, and has sung at the Illinois Music Education Association convention. The choir also represented Olivet at the annual Praise Gathering in Indianapolis from 1978 to 2005. The repertoire of this select group of singers includes anthems, hymns, spirituals, and contemporary compositions, representing different styles and periods of choral music. To learn more about what is offered by Olivet’s Music Department visit us at www.music.olivet.edu. OLIVET NAZARENE UNIVERSITY "Education With a Christian Purpose." Since 1907, Olivet Nazarene University has made this more than a motto, but a mission. At Olivet, considered one of the nation's premier Christian colleges, faith is at the heart of superior academics, athletics, social atmosphere and ministry opportunities. Here students not only learn how to make a living, they learn how to live. Since Olivet's founding, more than 20,000 degrees have been granted to graduating students. Whether their chosen fields are in medicine, business, education, ministry, or a myriad of other professions, Olivetians make a difference in the world for Christ and His kingdom. At Olivet, ambitious dreams meet uncommon opportunity. One University Avenue, Bourbonnais, IL 60914 1-800-648-1463 [email protected] Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY ' r COMMENCEMENT CONCERT AUDITIONS 6:00 p.m. Monday, February 7, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM The Glory and the Grandeur R. Peck Joel Deckard, Kaleb Soller, Chris Field, percussion Dr. Gerald Anderson, piano Concerto in A Minor, Op.43 R. Schumann Allegro affettuoso Andrea Richardson, piano Dr. Karen Ball, piano Merce, diletti am ici.. .Come rugiada al cespite (from Ernani) G. V erdi Merrick Robison, tenor Ben Chemey, piano On the Path to the Lake (from Vanessa) S. Barber Wesley Taylor, tenor Luke Olney, piano Concerto in E flat Major F. Haydn Allegro Merrick Robison, trumpet Dr. Karen Ball, piano A Weekend in the Country (from A Little Night Music) S. Sondheim Gwen Holmes, Calley Seefeldt, Wesley Taylor, Ashley Raffauf, Merrick Robison, Seth Lowery, Alicia Carter, Hillary Vaughn, Christine Caven Andrea Richardson, piano Largo al factotum (from II Barbiere di Siviglia) G. Rossini Reuben Lillie, baritone Dr. Ovid Young, piano Elle a fui, la tourterelle! (from Les Contes d ’Hoffman) J. Offenbach Calley Seefeldt, soprano Andrea Richardson, piano Non so piu cosa son (from Le Nozze di Figaro) W. A. Mozart Hillary Vaughn, mezzo-soprano Desiree Hays, piano Mein Herr Marquis (from Die Fledermaus) J. Strauss Ashley Raffauf, soprano Andrea Richardson, piano Concerto in A Major, K.622 W. A. Mozart Emily Martin, clarinet Dr. Gerald Anderson, piano Outside This House (from Vanessa) S. Barber Ben Geeding, tenor Ben Chemey, piano Concerto No. 2 in C Minor, Op. 18 S. R achm aninoff Chris LeFevre, piano Dr. Gerald Anderson, piano Di-mois que je suis belle (from Thais) J. Massenet Jenna Dickey, soprano Andrea Richardson, piano Deh vieni non tardar (from Le Nozze di Figaro) W. A. Mozart Christine Caven, soprano Elizabeth Morley, piano Se vuol ballare (from Le Nozze di Figaro) W. A. Mozart David Rice, baritone Dr. Jeff Bell, piano Questa o quel la (from Rigoletto) G. Verdi Seth Lowery, tenor Dr. Ovid Young, piano Concerto in G Minor, Op.26 M. Bruch Finale: allegro energico Chantalle Falconer, violin Lanae Harding, piano Quando m’en vo (from La Boheme) G. Puccini Alicia Carter, soprano Dr. Gerald Anderson, piano Concerto in C Major, Op. 48 D. Kabalevsky A llegro Rachel Tschetter, violin Desiree Hays, piano Concerto No. 1 in G Minor, Op. 25 F. M endelssohn Molto Allegro Con Fuoco Desiree Hays, piano Dr. Gerald Anderson, piano Concerto in G Minor, Op.89 “Africa” C. Saint-Saens Derek Corcoran, piano Dr. Karen Ball, piano Concerto No. 2 in G Minor, Op. 22 C. Saint-Saens Andante Sostenuto Josh Ring, piano Dr. Gerald Anderson, piano Ah! per sempre io ti perdei (from / Puritani) V. Bellini Paul Drace, baritone Dr. Ovid Young, piano Concerto No. 1 in E-flat, Op.l 1 R. Strauss Brittany Harris, horn Dr. Gerald Anderson, piano Voi, che sapete (from Le Nozze di Figaro) W.A. Mozart Andrea Dunahee, soprano Dr. Jeff Bell, piano Concerto in F Minor, Op. 18 O. Bohm e RaeMarie Donaldson, trumpet Dr. Gerald Anderson, piano I Am Easily Assimilated (from C andide) L. Bernstein Cindy Jackson, contralto Dr. Jeff Bell, piano Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu 7:00 p.m. Tuesday, February 08,2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Unfinished Tales Isaac Burch ONU Wind Symphony ♦♦♦♦♦♦ The Glory of the Day Was in Her Face Reuben Lillie Testament Men’s Choir ♦♦♦♦♦♦ Sensei’s Reflection Kyrstin Stephens Kyrstin and Erin Stephens ♦♦♦♦♦♦ Fantasy Josh Ring Josh Ring, piano ♦♦♦♦♦♦ Color Wheel Zach Kohlmeier I. Red Ryan Schultz, euphonium II. Green Ryan Schultz, euphonium III. Orange Patrick Wright, euphonium IV. Blue Zachary Kohlmeier, euphonium V. Yellow Ian Matthews, trombone VI. Violet Zachary Kohlmeier, euphonium Andrea Richardson, piano ♦♦♦♦♦♦ Ivory Waltz Angela Reedy Dr. Gerald Anderson, piano ♦♦♦♦♦♦ Mirior d’Etoiles Ben Chemey Chantalle Falconer, violin Allison Richmond, cello Elizabeth Morley, piano ♦♦♦♦♦♦ Winter Blessings Kyrstin Stephens Music for Prepared Piano and Electronic Effects Isaac Burch Isaac Burch, piano Ethan Burch, electronics ♦♦♦♦♦♦ Fantasia (One Moment ‘Til Tomorrow) Isaac Burch Isaac Burch, piano ♦♦♦♦♦♦ Chasing Sunsets Josh Ring Josh Ring, guitar Freddie Franken, guitar ♦♦♦♦♦♦ Program Notes Unfinished Tales The composer’s first foray into writing for wind symphony, this minimalist flavored work utilizes a strong underlying rhythm to push the music forward and lend momentum to the overall feel. The marimba opens the piece with a steady pattern. The flutes join with a free flowing melody which meanders and grows, and are eventually joined by several other motifs which intertwine and build, traveling into the B section. This brings some relief to the rhythmic intensity and begins again in a more subdued manner. After exploring several new melodies, the energy begins to build again, this time stronger than before. A new melody is transformed into cannon by the higher woodwinds and the euphonium. The bulk of this melody is then discarded in favor of a three note motif traded between several instruments, bringing the tension to a climax. The return occurs suddenly, and although familiar, it is able to get off the ground sooner than before due to the tension building behind it and a stronger foundation laid by the low brass. Once more, the music progresses through the use of several different melodies and motifs, some familiar and some new. Things come to a head quickly though, and after reaching the peak, all voices cut out suddenly, leaving only the chimes to ring out alone. The Glory of the Day Was in Her Face James Weldon Johnson's text reflects a man mourning the loss of his sweetheart, remembering her finest qualities as they compare to the beauty of nature. The music uses seventh chords in a closed texture, taking on a the character of a Barbershop quartet. Yet, dissonance and voice leading paint the text in instances when Barbershop rules are disregarded. Suspensions are plentiful, each one attempting to imitate the sentiment in the lyrics. Sensei’s Reflection Sensei is a Japanese title of respect given by a student to a teacher. In America, this term is commonly associated with a martial arts instructor, as it is in this work. Inspired by the composer’s personal experience with martial arts training, this piece is written in ballad form, a story-telling style. Musically, “Sensei’s Reflection” follows the relationship of the master and student as they learn from and inspire one another. The straightforward rhythms and themes prominently place the melody before the audience, guiding them on the journey of the student and teacher. The piece contains multiple key changes, following the emotional curves of the karate lesson. “Sensei’s Reflection” unfolds the story of a karate lesson, in which the teacher instructs his student in kata, a dance-like combination of techniques. At first the student is confident, performing what she already knows. But, when her teacher demonstrates a new section of the kata she is disheartened by its complexity. As the work progresses, the sensei guides his student who despairs of ever becoming a reflection of her sensei. Listen carefully and you may discover where their journey leads. Fantasy in F# Minor A fantasy is any musical composition of a free or improvisatory nature. This piece spins through an ABCAB form with the B sections having an ABAC feel. The composer encourages the audience to picture favorite movie scenes along with the piece to grasp the emotion behind the music. Color Wheel Color Wheel for Euphonium is a series of short pieces for a piano and euphonium (and/or trombone) that serves to represent the complexity of how we interpret colors. When contemplating Red, most individuals think of anger or love, therefore this piece features irritating minor nine chords in the piano against romantic, sweet melodies on the euphonium. I invite you to imagine an awkward first date, where romance tries to overcome the awkwardness of the situation. When contemplating Green, I think of sagely experience, like a giant oak tree, or youthful innocence, like a gentle seedling. 1 invite you to imagine the never-ending life cycle of a tree: from a fallen seed to a brand new seedling and from seedling to fully grown tree. When contemplating Orange, I find it a modern, vibrant hue. With its inconsistent Latin rhythms and passionate melodies, 1 invite you to interpret this piece as a high school party, where the youthful abandon and unassailable enthusiasm shift and change the mood with every second. When contemplating Blue, it is a rather calming color, and yet also a sad color. By mixing a relaxing piano part with a subdued, almost crying euphonium part, I invite you to imagine an individual in the acceptance stage of grief. When contemplating Yellow, obviously it is bright and cheery, almost to the point of being annoying. Since this piece features a comedic euphonium part juxtaposed to a bouncy piano rhythm. I invite you to imagine a playground full of impish children playing. When contemplating Violet, it is a unique blend of solemn blue tint and amorous red color, therefore this piece moves from different moods, tempos, and textures to represent the complexity of this color. I invite you to imagine a soldier returning from war, when disturbing memories from battle compete with rampant joy for seeing home again invade his or her mind. Zach Kohlmeier. Ivory Waltz The Ivory Waltz is a piece intended to attract the listener’s imagination. Though the piece was not originally created with an actual story in mind, the composer had an idea that the piece would represent a gruesome dance between a frightened young woman and the man turned hideous beast that wishes to woo her. The piece’s solemn four-bar introduction demonstrates an almost mournful, dream-like state, as the performer showcases the primary melody with the right hand. This melody, representing the cursed man’s wish to be with the woman he loves, will reappear often throughout the piece’s entirety. Then the listener will feel the dance begin and sense the struggle that goes on between the beast and the young woman who fears him. Does the man win his love over by the end of the piece? It is the listener’s duty to decide. Mirior d’Etoiles Miroir d’Etoiles, or Mirror of Stars, is a duet for violin and cello, accompanied by piano. The balladic nature of the piece is designed to evoke an emotional process which, like the harmonies, will gradually shift and evolve. Accordingly, the piece calls for a great deal of movement and interpretation, much of which is left up to the collective discretion of the performers. Winter Blessings Begun on Christmas Eve, this piece for string quartet is written in a mock-fugue form. The classic fugue is developed around a single theme, commonly written in a straightforward Baroque style with linear melodies. The beginning of a fugue, and Winter Blessings, presents the theme to the audience in a unique way: each instrument makes a full statement of the theme, accompanied by countermelodies from other parts of the ensemble. As a fugue progresses, the composer develops the piece by using small segments of this theme and its countermelodies. Throughout the piece, the theme will also be restated in its entirety. In Winter Blessings, the composer chose to not only use sections of development and restatements, but also mix these classic elements of fugue with an entirely different styled theme, focusing on vertical harmonies and chordal textures. These contrasting themes provide contrast in the work. The piece ends as a classic fugue does, with a section called a streto, where all members of the ensemble play the main theme simultaneously, building to the conclusion. Music for Prepared Piano and Electronic Effects Although the techniques used in this work will create sounds unfamiliar to the ears, the harmonic structure is fairly conventional. It is primarily an experiment in timbre. Through the use of homemade microphones, guitar effects, and a guitar amplifier, a simple piece of music can become quite exciting to hear. The sound of the piano is also altered by taping a thin strip of rubber across the strings at specific points. Fantasia (One Moment ‘til Tomorrow) This exciting solo piano piece begins with an ostinato, setting up the framework for the main theme as well as several improvisatory passages heard throughout the duration of the work. The piece was written in only two days with very little editing or revision. Because of the manner in which the piece was written and the nature of the ostinato, it is directly based on the original improvisation from which the idea for the main theme was created. Chasing Sunsets This piece explores the texture of an Octatonic scale - a scale that alternates whole steps and half steps resulting in 8 pitches per octave. The two guitars alternate between comping and playing the melody. With an ABCADA form, this piece has an improvisational section followed by a rhythmic section that drives to the finish. Upcoming Events February 24-25, 2011: Spring Musical, Godspell* 7:00pm, Kresge Auditorium February 26, 2011: Spring Musical, Godspell* 2:00 & 7:00pm, Kresge Auditorium March 1, 2011: Band Concert 7:00pm, Kresge Auditorium March 3, 2011: Senior Recital: Robins & Stems 7:00pm, Kresge Auditorium March 15, 2011: Junior/Senior Recital: Robison & Carter 7:00pm, College Church March 17, 2011: Night of Jazz* 7:00pm, Chalfant Hall March 18, 2011: Senior Recital: Martin 7:00pm, Kresge Auditorium March 21, 2011: Senior Recital: Corcoran 7:00pm, Kresge Auditorium *Tickets are required for this event Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE r UNIVERSITY Dr. Neal McMullian, conductor Prof. Matt Jacklin, director Prof. Ryan Schultz, conductor 7:00 p.m. Tuesday, March 1, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation The Swords of a Moda-Ling Gordon Peters Percussion Ensemble Bailey Zeilenga, Bethany Reed, Kaleb Soller, Caleb Carman, Jacob Galloway, Jake Leatherwood, Derek Delgado, Owen Bough The Liberty Bell March John Philip Sousa Ed. William D. Revelli Festa! Elliot A. Del Borgo My Faith Looks Up To Thee Timothy Rhea Prelude, Siciliano, and Rondo Malcolm Arnold Arr. by John P. Paynter Concert Band C anzona Peter Mennin First Suite in E flat Gustav Holst Mvt. 1 Chaconne Mvt. 2. Intermezzo Mvt. 3 March Unfinished Tales Isaac Burch Pageant Vincent Persichetti Dusk Steven Bryant Finale from Symphony No. 5 Dmitri Shostakovich Wind Symphony Thank you for turning off cell phones and for not using flash photography Program Notes The Liberty Bell March - Originally published in 1894, The Liberty Bell March has become one of Sousa’s best known marches. According to America’s leading Sousa scholar, Paul E. Bierley, Sousa was inspired to write this march because of a huge painting he had seen of the Liberty Bell in Chicago. This march is in typical Sousa style, full of bouncy rhythms, brilliant in its orchestration, both melodic and stirring. It is one of Sousa’s finest marches, bringing the audience's attention to the Liberty Bell itself through the use of chimes during the trio. Festa! - Elliot Del Borgo, an American composer, is best known for his music for wind bands. His works include Do Not Go Gentle Into That Good Night, Rituale, and music for the closing ceremonies of the 1980 Winter Olympics in Lake Placid, New York. Lesta! is a three-part composition. The first part, a lively celebration, is followed by a slower, more pensive section. The final section of the work is a repeat of the opening celebration that ends with full forte. My Faith Looks Up To Thee - This work, premiered in April of 2001, was commissioned for Elizabeth Webb, a longtime band booster president, by the Cisco, Texas High School Band and Band Boosters. This arrangement of the hymn My Faith Looks lip To Thee, words by Ray Palmer and music by Lowell Mason, was created to employ the various orchestration colors and textures of the symphonic band. This simple, yet profound setting opens with a quite flute solo. Following various settings of the hymn tune, a short reference to Amazing Grace is heard and the composition ends peacefully. Prelude, Siciliano, and Rondo - This work was originally written for the brass bands for which England is well-known. It was titled Little Suite fo r Brass. John Paynter’s arrangement expands it to include woodwinds and additional percussion, but faithfully retains the breezy effervescence of the original composition. All three movements are written in short, clear five-part song forms: The ABACA design will be instantly apparent to the listener while giving the imaginative melodies of Malcolm Arnold a natural, almost folk-like setting. The Prelude begins bombastically in fanfare style, but reaches a middle climax, and winds down to a quiet return of the opening measures that fades to silence. The liltingly expressive Siciliano is both slower and more expressive, affording solo instruments and smaller choirs of sound to be heard. It, too, ends quietly. The rollicking five-part Rondo provides a romping finale in which the technical brilliance of the modern wind band is set forth in boastful brilliance. The Wind Symphony is presenting a concert of pioneers of wind music repertoire. The following pieces represent a sampling of “firsts” for the composers and, for some, their first foray into writing for the wind band medium. Spanning the decades from 1920’s to the present, they remind us of our past and yet look towards an exciting future in the compositions written for the wind band. “Canzona” represents Peter Mennin’s first and only wind band composition. Mennin was primarily an orchestral composer and was a faculty member at The Julliard School. The following are the notes as given by the composer: “Canzona” is a short, brisk work, which opens with a declamatory idea expressed in massed sonorities. Next, a broad melodic line is introduced and supported by powerful rhythmic figurations. This is followed by a cantabile section. These materials are developed and expanded, and the piece closes with the opening statements brought back in a more dramatic presentation. In the notebook in which he kept a record of his compositions from 1895 until his death, Holst entered the 1st Suite in E Flat for Military Band Op. 28A on the page for 1909. This is the only evidence we have of the work’s origins, for there is no certain record of any performance before 1920, nor is there any evidence of for whom the work was written. It seems likely that Holst, himself a proficient trombone player, was distressed at the level of music written for the wind band (military band) and decided he might be able to lend a helping hand. The original instrumentation was scored thinly enough to be able to be played by 19 players as many of the military bands of the era had flexible instrumentation that varied greatly from rehearsal to rehearsal. The First Suite has become one of the cornerstones of wind band literature and helped to change the course of all music written for wind band thereafter. Unfinished Tales: The composer’s first foray into writing for wind symphony, this minimalist flavored work utilizes a strong underlying rhythm to push the music forward and lend momentum to the overall feel. The marimba opens the piece with a steady pattern. The flutes join with a free flowing melody which meanders and grows, eventually being joined by several other motifs which intertwine and build, traveling into the B section. This brings some relief to the rhythmic intensity and begins again in a more subdued manner. After exploring several new melodies, the energy begins to build again, this time stronger than before. A new melody is transformed into a cannon by the higher woodwinds and the euphonium. The bulk of this melody is then discarded in favor of a three note motif traded between several instruments, bringing the tension to a climax. The return occurs suddenly, and although familiar, it is able to get off the ground sooner than before due to the tension which has building behind it and a stronger foundation laid by the low brass. Once more, the music progresses through the use of several different melodies and motifs, some familiar and some new. Things come to a head quickly though, and after reaching the peak, all voices cut out suddenly, leaving only the chimes to ring out alone. Vincent Persichetti was a member of the Julliard School of Music and was head of the composition department of the Philadelphia Conservatory. His works in all genres of music helped to establish him as a uniquely American composer. “Pageant,” commissioned by the American Bandmasters’ Association, was completed in January 1953, and is his third band work. It opens in a slow tempo with a motive in the hom that is used throughout both sections of the piece. The slow chordal section is succeeded by a lively parade section introduced by the snare drum. In the final portion of the work the two principal subjects are developed simultaneously to a lively climax. Interestingly, the final cluster of notes represent all the notes in the chromatic scale, save those three introduced by the hom in the beginning. Steven Bryant is a prolific composer for wind band and studied with John Corigliano, Cindy McTee, and Francis McBeth. “Dusk” is based on a simple chorale that works to capture the “reflective calm of dusk, paradoxically illuminated by the fiery hues of sunset.” Bryant relates that he is always struck by the dual nature of this experience, as if witnessing an event of epic proportions silently occurring in slow motion. “Dusk” is intended as a short, passionate evocation of this moment of dramatic stillness. Shostakovich’s Fifth Symphony has been the subject of an immense amount of scrutiny and research. The symphony, “a soviet artist’s reply to just criticism” as related by a reporter, did much to try to smooth relations with the Stalin regime after a scathing article in the Pravda on the “screaming” music of Shostakovich’s opera “Lady McBeth.” Shostakovich had seen family and friends, in fact most of the arts community in Russia, repressed, exiled, or even killed and was forced to make a decision in order to save his family. The Fifth Symphony was his response. The Finale heard this evening is bombastic and march-like and very much a piece “for the people.” However, listen closely, as under the surface the music can come across as hollow and, with the fierce timpani, likened to being beaten over the head and forced into submission. Concert Band Dr. Neal McMullian, conductor Flute Clarinets (Cont) H orn Samantha Allen Nicole Papineau Brooke Bellamy Marijke Bakker David Parsons Sam Lewis Breanne Bambrick Clara Stone Nathaniel McManus Amy Bell Ben Strait Gabriel le Metzger Nikita Brown Deidre Sheldon Chantelle Chamberlain Alto SaxoDhone Chelsea Diemer April Dhennin T r o m b o n e Alisha Evans Jonathan Erdahl Matt Gargiulo Aisha Foday Laura Holdham Jacob Hoskins Allison Grigus Whitney Huff Crystelle LeMay Adrienne Harris Julianna Munyon Joy MacDonald Michelle Spencer E u p h o n iu m Jean Mosey Rebekah Stewart Jeremy Atwood Taylor Nagel Sarah Whitten Peter Robinson Nicole Nootbaar Derek Williams Lindsey Johnson Bethany Rush Kayla Younglove Daniell Scheiterle T u b a Nicole Stone Tenor Saxophone Jennifer Rowley Rachel Tschetter Ashley DeVries Tim Phillips Samantha Wuske Jeremy Schooler Beth Eddy P ercu ssio n O b o e Andrew Barnard Kirstie King Baritone Saxophone Owen B lough Kate Wilson Margaret O’Neill Caleb Carman Derek Delgado Bassoon Trumpet Jacob Galloway Danyne Harris Ethan Barse Nicholas Holden Chris McAndrews Andy Breeden JoAnna Knepper RaeMarie Donaldson Jake Leatherwood C la rin et Ryan Gifford Jake Neuman Zachary Cataldo Carrie Riegle Linnea Orne Caitlyn Crum Logan Smith Bethany Reed Stephanie Diliman Kim Wyman Kaleb Soller Crystal Fleck Dustin Southe Britney Marko Seth Wenzelman Brittany Nichols Rebecca Wilkinson Jamie Pickett Bailey Zeilenga Wind Symphony Prof. Ryan Schultz, conductor F lu te Tenor Saxophone P er c u ssio n Diane Rankin Ian Smith Chris Field Rachel Von Arb Mike Zaring Kelly Casillas Baritone Saxophone Melody Abbott Desiree Hays Renee Runyan Bryce Parker Brittany Terpstra Malik Temple Rose Hall T ru m p e ts Austin Lappe Patrick Wright O b o e Adam Weeks String Bass Joy Matthews Andrew Moore Tony Jacobs Katelyn Dunkman Kristen Kuzur Kerry VanSyckle P ia n o C la rin ets Kyle Hance Kate Hausken Emily Martin Elise Payne H orn Tracy Van Zandbergen Brittany Harris Rachel Taylor Rebeckah Stems Michael Gorski Stephanie Moore Megan Elroy Kyle Miller April Culver Jacqueline Rose Matt Maltese Olivia Zimmer T ro m b o n e lan Matthews Bass Clarinet Zach Kohlmeier Thadeus Kryszyn Lauren Hausken Andrea Lamontagne Mike Speer B a sso o n E u p h on iu m Brianna Robbins Jef Maslan Ashley Pitzer Catie Young Alto Saxophone T u b a Lucas Sanor Josh Ring Kristin Cheney Alex Kellogg Jeremy Huish Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE r UNIVERSITY SENIOR RECITAL Brianna Robins b a s s o o n Rebeckah Sterns h o r n with Dr. Karen Ball, piano Dr. Gerald Anderson, piano Bassoon Ensemble 7:00 pm Thursday, March 03, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Polichinelle (Rigoudon a Rondeau) Karol Rathous Miss Robins, bassoon Dr. Anderson, piano ***** Concerto for Horn in C minor, Op. 8 Franz Strauss Allegro Moderato Andante Allegro Moderato Miss Stems, hom Dr. Ball, piano Sonate pour Basson avec accompt de Piano, Op. 168 C. Saint- Saens Allegretto moderato Allegro scherzando Adagio-Allegro moderato Miss Robins, bassoon Dr. Anderson, piano ♦ ♦♦♦♦ Reverie Felix Mendelssohn Arr, Ronald C. Dishinger Miss Sterns, hom Dr. Ball, piano ♦ ♦♦♦♦ 3 Elegies pour Basson et Piano Emile Naoumoff Intense et doux Lyrique mais sobre Melancolique et “slave” Miss Robins, bassoon Dr. Anderson, piano ***** Sonata for Hom and Piano Paul Hindemith Massig Bewegt Ruhig Bewegt Lebhaft Miss Stems, horn Dr. Ball, piano T e Grouchy Old Bear, Op. 210 Julius Fucik Arr. Alan Hawkins Miss Robins, Allison Stith, Chris Raymond, Ravin Sampson ***** Program Notes ll lichinelle Karol Rathous was born in Poland on September 16, 1895. He studied with Franz Schreker in Vienna. His initial style was a mixture of the ^f';nnese elegance and elements of Poland’s folk tradition. His music then e| ftved to a romantic and melodic style. He was the pioneer of film scoring in Germany when sound films were invented. In 1938, he came to the U.S. a-d worked in Hollywood. Later, Rathous became a professor of music at (I eens College in New York City and held that position until his death in 1954. (1 ncerto for Horn in C minor The concerto for horn in c minor by Franz Strauss showcases the composer’s extraordinary ability to compose for the horn. Franz Strauss was bj -n in Bavaria and composed during the later romantic period. He comes t!^m a family of musicians, most famous of which is his son, Richard Strauss. Franz Strauss was well acquainted with the horn being a horn player bl nself and he was able to compose in such a way as to showcase the best d iracteristics of the instrument. This concerto explores many different realms of horn playing and reveals the wonderful music that can be produced \| :h the instrument. Sonate pour Bassoon avec accompt de Piano This work was part of a set of three sonatas for "otherwise neglected truments"— oboe, clarinet, and bassoon. It is more straightforward than int-Saens' earlier chamber music, and it follows time-honored Classical i forms. It was published just before the composer's death, and he dedicated it tl a bassoonist/professor friend. The work was premiered after the composer's death. The first movement ebbs and flows between major and inor key areas and includes a development section with a gentle peak. The :ond movement is quite "snarky" in style. The third and final movement !idges a rather plaintive slow section with a shorter, "choppy," fast one. I] verie This piece, originally composed for Piano by Felix Mendelssohn is a part of his “Songs without words” collection. Mendelssohn was a German nposer, composing in the early-middle romantic period. He was a very versatile composer, composing for many genres. His “Songs Without Word are probably his most famous piano compositions. The melody and accompaniment of this particular piece are very simple yet beautiful. This short, sweet piece is sure to leave the listener feeling peaceful and at ease. 3 Elegies Emile Naoumoff, bom in Sofia, Bulgaria in 1962, was noticed as a musical prodigy at the age of five. He studied piano and composition with Nadia Boulanger until her death in 1979. He premiered his first piano concerto at the age of ten, when he began studies at the Paris Conservatory. Along with 3 Elegies, Naoumoff composed two other works for bassoon anu piano as well as numerous piano compositions. Sonata for Horn and Piano The Sonata for Horn and Piano, by Paul Hindemith provides a challenge for both the hom player and the piano player. Hindemith was a German composer, composing in the 20th century. Many of his works combine the newer tonalities of the 20th century with the contrapuntal style of J.S. Bach. The Sonata for Hom and Piano challenges the horn and piano players both technically and musically. This three movement work explores many different moods, often within just one movement, ending very broad, heavy, and with much finality. The Grouchy Old Bear Fucik, bom in Prague in 1872 learned to play the bassoon, violin an^ various percussion instruments as well as composition. In 1891, he joined tl 49lh Austro-Hungarian Regiment as a musician. Fucik left the army in 1895 and took a second bassoon position with the German Theatre. A year later he started composing chamber works mostly for clarinet and bassoon. His mos famous composition, Entrance o f the Gladiators, has become associated wit., clowns and the circus. In 1913, he married and started his own band to market his works. When his business dialed his health began to suffer and h died in 1916. Thank you for turning off cellular phones and for refraining from the use of flash photography. Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu Alicia Carter soprano Merrick Robison trum pet with Dr. Karen Ball, piano Dr. Gerald Anderson, piano f t ? 7:00 pm Tuesday, March 15, 2011 College Church of the Nazarene PROGRAM Invocation I Hate Music: A Cycle of 5 Kid Songs For Soprano L. Bernstein I. My Name Is Barbara II. J upiter Has Seven Moons III. I Hate Music IV. The Big Indian and The Little Indian V. I’m A Person Too Miss Carter, soprano Dr. Karen Ball, piano Sonata for Trumpet in Bb and Piano P. Hindemith Mit Kraft Mr. Robison, trumpet Dr. Karen Ball, piano Wer hat dies Liedlein erdacht G. Mahler Nacht und Traume F. Schubert Miss Carter, soprano Dr. Ball, piano Concerto for Two Trumpets and Organ F. Manfredini Allegro Adagio Allegro Mr. Robison, trumpet Patrick Wright, trumpet Dr. Timothy Nelson, organ Psyche II est doux, it est bon (from Herodiade) J. Massanet Miss Carter, soprano Kate Hausken, piano Concerto for Trumpet in Bb and Piano J. Haydn Allegro Mr. Robison, trumpet Dr. Karen Ball, piano Serenade J. A. Carpenter Miss Carter, soprano Dr. Gerald Anderson, piano Send In The Clowns (from A Little Night Music) S. Sondheim Miss Carter, soprano Dr. Anderson, piano Emily Martin, clarinet Monticello (from Edges: A Song Cycle) B. Pasek and J. Paul Mr. Robison, tenor Andrea Richardson, piano Into the Fire (from The Scarlet Pimpernel) F. Wildhom Merrick Robison, Andrew Neilson, Joey Ramirez, Ben Geeding, Reuben Lillie, Wes Taylor, Seth Lowery, Jase Hackman Andrea Richardson, piano Deh piu a me non v’ascondete G. M. Bononcini Quando men vo (from La Boheme) G. Puccini Miss Carter, soprano Dr. Gerald Anderson, piano Variations on a Theme (from Norma) J.B. Arban Introduction Theme Var. 1 Piu lento Mr. Robison, trumpet Dr. Karen Ball, piano Someone Like You (from Jekyll and Hyde) F. Wildhom Miss Carter, soprano Kate Hausken, piano Fantine’s Death (from Les Miserables) C.M. Schonberg Miss Carter, soprano Merrick Robison, tenor Kate Hausken, piano Summertime (from Porgy and Bess) G. Gershwin Miss Carter, soprano Merrick Robison, trumpet Freddie Franken, guitar Josh Ring, piano Staci McMichael, bass Chris Field, drums Program Notes Hindemith Sonata Paul Hindemith (1985-1963) is known as one of the most significant German composers of his time. His Sonata for Trumpet and Piano was first published in 1939, just prior to WWII, while he was in exile from Germany, living in Switzerland, a year before he moved to the United States. The piece was written to an audience on the verge of war time, and is at first a stately piece for the trumpet, with precise leaps in the melody. Listen for the difference in meter in the piano, laying a quick triplet pattern under the trumpet’s broad phrasing. In later movements, the subject moves to what the somber consequences of wartime are, and even borrows ideas from the chorale, "All Menschen miissen sterben" (All men must die). Wer hat dies Liedlein erdacht- Up there on the mountain, in a high-up house, a lovely, darling girl looks out of the window. She does not live there: she is the daughter of the innkeeper, and she lives on the green meadow. "My heart is sore! Come, my treasure, make it well again! Your dark brown eyes have wounded me. Your rosy mouth makes hearts healthy. It makes youth wise, brings the dead to life, gives health to the ill." Who has thought up this pretty little song then? It was brought over the water by three geese - two grey and one white - and if you cannot sing the little song, they will whistle it for you! Yes! Nacht und Traume Holy night, you sink down; Dreams, too, drift down Like your moonlight through space, Through the quiet hearts of men; They listen with delight Calling out when day awakens: Return, holy night! Fair dreams, return! Double Trumpet Concerto Not much is known about Francesco Manfredini (1684 - 1762), but the few pieces of his that survived time continue to be excellent examples of Baroque literature. Listen to the tight harmonies of the trumpets, as well as the exchange of the melodic line from the trumpets to the organ and back. Psyche I am jealous, Psyche, of all nature! The sun's rays kiss you too often, Your hair suffers too much the wind's caresses. As it flatters you, I mutter in protest! The same air that you breathe with so much pleasure passes over your mouth. Your dress touches you too closely! And whilst you sigh I do not know what it is that startles me Fear, amidst your sighs, those distracted sighs! II est doux, il est bon from Herodiade He whose word erases all sentences, The Prophet is here! Unto him I'm going! It is sweet, it is good, his voice is serene: He speaks ... all is silen t... Lighter on the plain The air passes quietly attentive ... He speaks ... Ah! when he returns? when will I hear? I suffered ... I was alone and my heart calmed down Listening to his melodious voice and tender, My heart has calmed down! Beloved prophet, can I live without you! Beloved Prophet, may I live ... live without you! There it is! in this desert where the astonished crowd Had followed in his footsteps, He greeted me one day, abandoned child! And it opened my arms! He is gentle, he is good His voice is serene, He speaks ... all is silen t... lighter on the plain ... The air passes quietly attentive ... He speaks! Ah! when he returns? When can I hear? I suffered ... I was alone and my heart calmed down Listening to his melodious voice and tender, My heart has calmed down! Beloved prophet, can I live without you! Beloved Prophet, may I live ... live without you! Ah! when he returns? When can I hear it! Beloved prophet, can 1 live without you! Haydn Concerto Haydn’s Concerto for Trumpet is one of the first known concertos for chromatic trumpet. The first trumpeters that performed the piece played it on a keyed trumpet, much like a saxophone or clarinet. When the trumpet gained valves, the concerto continued to be popular, and is now part of the standard repertoire. Listen for the sweet and simple classical phrasing, and imagine how the accompaniment would sound as a string section. Quando men vo Having spotted her occasional boyfriend, Marcello, Musetta sings o f how everyone always notices her beauty when she goes out. When 1 walk all alone in the street People stop and stare at me And look for my whole beauty From head to feet And then 1 taste the slight yearning which transpires from their eyes and which is able to perceive to most hidden beauties. So the scent of desire is all around me, It makes me happy! And you, while knowing, reminding and longing you shrink from me? I know it very well: you don't want to express your anguish, but you feel as if you're dying! Variations on a Theme from Norma J.B. Arban was a composer and comet player most known for his complete comet method, a standard method book of trumpet and comet players. His Variations on a Theme is based on Casta Diva, from the opera Norma by Bellini. Listen to what was originally a glorious soprano solo, then try to find the musical ideas from the theme in the variations that follow. Summertime George Gershwin began composing Summertime in 1933, setting out to create an original spiritual in the style of current African American folk song. It was originally an aria sung as a part of the opera Porgy and Bess. The song itself has been recorded over 24,400 times, and has become classic American literature. The style the song will be performed in is based off the 1957 recording by Ella Fitzgerald and Louis Armstrong. Thank you for turning off cellular phones and for refraining from the use of flash photography. Upcoming Events Thursday, March 17, 2011- Night of Jazz Kresge Auditorium- 7:00pm Friday, March 18,2011- Senior Recital: Emily Martin (clarinet) Kresge Auditorium-7:00pm Monday, March 21,2011- Senior Recital: Derek Corcoran (piano) Kresge Auditorium- 7:00pm Tuesday, March 22, 2011- Orchestra/Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, March 26,201 1-Adjunct Faculty Recital: Matt & Rachel Jacklin Kresge Auditorium- 7:00pm Thursday, March 31,2011- A Day with Marvin Blickenstaff Larsen Fine Arts Center- 10am-5pm Monday, April 4, 2011- Hopkins Scholarship Auditions Larsen Room 140- 7:00pm Tuesday, April 5, 2011- Hale/Wilder Scholarship Auditions Larsen Room 140- 7:00pm Monday, April 11,2011- Nielson/Young Scholarship Auditions Kresge Auditorium- 7:00pm Tuesday, April 12, 2011- Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14,2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26,2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 20, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a Jist of daytime performances. ** Olivet Nazarene University 1 Department of Music 800-648-1463 I www.olivet.edu A. OLIVET Department of Music lw nazarene f V I UNIVERSITY featuring the ONU Jazz Band with Major Six and Concert Singers 7:00 p.m. Thursday, March 17,2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Lullaby of Birdland George Shearing Flutterbye Tony Guerrero Israel John Carisi Major Six * * * * * You Put This Love in My Heart Keith Green, arr. Rob Neal Scarborough Fair arr. Kerry Marsh Concert Singers * * * * * 3-2-1-0 Oliver Nelson Patrick Wright, trumpet Frank Speaking William Russo Ian Matthews, trombone Saralon Blues Thomas Fredrickson Nightowl Suite, Movement 1 Mike Tomato lan Matthews, trombone Kerry VanSyckle, vocals The Doomsday Machine Meets Mr. Gelato Ellen Rowe Jeremy Schooler, tenor saxophone Zach Kohlmeier, trombone ONU Jazz Band Major Six Prof. Freddie Franken, director RaeMarie Donaldson, trumpet/flugelhorn ♦> Chris Field, drums Renee Runyan, alto/tenor saxophone ♦> Josh Gill, guitar Isaac Burch, bass guitar Concert Singers Dr. Neal Woodruff, conductor Alicia Carter ♦> Christine Caven ❖ Taylin Frame ❖ Lillian Guenseth Gwen Holmes ❖ Ashley Raffauf ❖ Hillary Vaughn ❖ AlyssaNorden Sarah Ward ❖ Ben Geeding ❖ Chris LeFevre ❖ Seth Lowery *> David Rice Reuben Lillie ♦> Calley Seefeldt ♦> Andrew Nielson ❖ Blake Reddick ONU Jazz Band Dr. Don Reddick, director SAXOPHONES: BASS GUITAR: Kristin Cheney Sarah Marrs Ashley Pitzer Renee Runyan PERCUSSION: Lucas Sanor Christopher Field Jeremy Schooler Allyse Groover Kaleb Soller TRUMPETS: Anthony Jacobs GUITAR: Andrew Moore Jase Hackman Diane Rankin Kerry VanSyckle PIANO Patrick Wright Jamila Coker Ryan LaLone TROMBONES: Josh Ring Alex Kellogg Zach Kohlmeier Ian Matthews Blake Reddick Thank you for turning off cellular phones and for refraining from the use of flash photography. Upcoming Events Friday, March 18: Sr. Recital: Martin- Kresge, 7pm Monday, March 21: Senior Recital: Corcoran- Kresge, 7pm Tuesday, March 22: Orchestra/Chamber Concert- Kresge, 7pm Thursday, March 24: Show Choir Concert- Kresge, 7pm Friday, March 25: Percussion Ensemble Concert- Kresge, 7pm Saturday, March 26: Faculty Recital, Matt & Rachel Jacklin- Kresge, 7pm Thursday, March 31: A Day with Marvin Blickenstaff- Centennial Chapel Thursday, March 31: Sr. Recital: Joey Ramirez- Kelley Prayer Chapel, 7pm Saturday, April 2: Gospel Choir Concert- Kresge, 7pm Monday, April 4: Hopkins Scholarship Auditions- Rm.140, 7pm Tuesday, April 5: Hale/Wilder Scholarship Auditions- Rm.140, 7pm Thursday-Saturday, April 7-9: Spring Play-Kresge, 7pm Monday, April 11: Nielson/Young Scholarship Auditions- Kresge, 7pm Tuesday, April 12: Orpheus Concert- Kresge, 7pm Thursday, April 14: Testament/Chrysalis Concert- Kresge, 7pm Friday, April 15: Harp Ensemble Concert- Kresge, 7pm Tuesday, April 19: Band Concert- Kresge, 7pm Tuesday, April 26: Jazz Band & Concert Singers- Kresge, 7pm Thursday, April 28: Chamber Ensemble Concert- Kresge, 7pm Saturday, April 30: Commencement Concert- Kresge, 7pm Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY SENIOR RECITAL Emily Martin clarinet with Dr. Gerald Anderson, piano Desiree Hays, piano Lauren Wood, violin Calley Seefelt, soprano Andrea Richardson, piano Rachel Fisher, harp 7:00 pm Friday, March 18, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Clarinet Concerto W. A. Mozart Cantilene Louis Cahuzac Premiere Rhapsodie Claude Debussy Miss Martin, clarinet Dr. Gerald Anderson, piano Souvenir de Sarasate William Potstock Lauren Wood, violin Desiree Hays, piano Scaramouche Darius Milhaud I. Vif II. Modere III. Brazileira Miss Martin, clarinet Dr. Gerald Anderson, piano Elle a fui, la tourterelle! (from Les Contes D'Hoffmam) Jacques Offenbach Vieille Chanson Georges Bizet Calley Seefeldt, soprano Andrea Richardson, piano Song Without Words Libby Larsen Miss Martin, clarinet Dr. Gerald Anderson, piano Suite for Clarinet Violin and Piano Darius Milhaud III. Jeu IV. Introduction et Final Lauren Wood, violin Desiree Hays, piano The Little Fountain Samuel O. Pratt Rachel Fisher, harp Concertino C.M. Weber Miss Martin, clarinet Dr. Gerald Anderson, piano Thank you for turning off cellular phones and for refraining from the use of flash photography. Notes Clarinet Concerto At the peak of his compositional abilities and just weeks before his death, Wolfgang Amadeus Mozart (1756-1791) composed the Clarinet Concerto in A major. He wrote it specifically for his friend and fellow freemason, Anton Stadler. There is no extant manuscript of Mozart's clarinet concerto. What does survive is an unfinished draft of the Concerto's precursor. The Clarinet Concerto stands as a supreme example of the genre and contains some of Mozart's finest writing for any instrument. The Concerto uses the entire standard range of the instrument, from low C (basset clarinet) to high G. Timbral differences of the clarinet's various registers are beautifully employed to vary mood and affect. The clarinet's ability to navigate very large intervals is tastefully demonstrated in numerous passages and helps create excitement and freshness. Cantilene Louis (Jean Baptiste) Cahuzac (12 July 1880 - 9 August I960)111 was a French clarinetist and composer. Cahuzac was an outstanding performer and one of the few clarinetists who made a career as a soloist in the first part of the 20th century. Louis Cahuzac was bom in Quarante, south France. His teachers were Felix Pages in Toulouse conservatoire and Cyrille Rose in Paris conservatoire. Premiere Rhapsodie Claude-Achille Debussy (August 22, 1862- March 25, 1918) was a French composer within the impressionist era. Debussy is among the most important of all French composers and a central figure in European music of the turn of the 20th century. His music is noted for its sensory component and how it is not often formed around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. His music virtually defines the transition from late-Romantic music to 20th century modernist music. The Premiere Rhapsodie was written in the Impressionistic Era intended for clarinet and piano. Debussy wrote this piece for French clarinet professor Prosper Mimart in 1910. He published his own orchestration of the accompaniment in 1911, after the official premiere with Mimart. Scaramouche Darius Milhaud (French pronunciation: 4 September 1892 - 22 June 1974) was a French composer and teacher. His compositions are influenced by jazz and make use of polytonality (music in more than one key at once). Milhaud was an extremely rapid creator, for whom the art of writing music seemed almost as natural as breathing. A scaramouche was originally a variation of the commedia character, Capitano, a braggart soldier. The Italian actor, Tiberio Fiorillo transformed the military role to a roguish clown character. He is portrayed as a buffoon or boastful clown. Song Without Words Libby Larsen (b. 24 December 1950, Wilmington, Delaware) is one of America’s most performed living composers. She has created a catalogue of over 400 works spanning virtually every genre from intimate vocal and chamber music to massive orchestral works and over twelve operas. Grammy Award winning and widely recorded, including over fifty CD’s of her work, she is constantly sought after for commissions and premieres by major artists, ensembles, and orchestras around the world, and has established a permanent place for her works in the concert repertory. Concertino Carl Maria von Weber, son of a versatile musician who had founded his own travelling theatre company, and a cousin of Mozart's wife Constanze, was trained as a musician from his childhood. As a composer he won a lasting reputation with the first important Romantic German opera, Der Freischiitz. He wrote the Clarinet Quintet for the outstanding clarinetist of the Munich Orchestra, Heinrich Barmann. Weber was so taken with Barmann's playing in 1811 that he quickly composed two clarinet concertos and a concertino for him. As the instrument was relatively new, Weber's works for the clarinet broke new ground, affording it a new measure of prominence and displaying its wide-ranging capabilities for both expressivity and virtuosic display. It is a tribute to Weber's ability that this piece remains a favorite in the standard repertory. Upcoming Events Monday, March 21,2011- Senior Recital: Derek Corcoran (piano) Kresge Auditorium- 7:00pm Tuesday, March 22, 2011- Orchestra/Chamber Ensembles Concert Kresge Auditorium- 7:00pm Thursday, March 24, 2011- Show Choir Concert Kresge Auditorium- 7:00pm Saturday, March 26, 2011-Adjunct Faculty Recital: Matt & Rachel Jacklin Kresge Auditorium- 7:00pm Thursday, March 31, 2011- A Day with Marvin Blickenstaff Larsen Fine Arts Center- 10am-5pm Monday, April 4, 2011- Hopkins Scholarship Auditions Larsen Room 140- 7:00pm Tuesday, April 5, 2011- Hale/Wilder Scholarship Auditions Larsen Room 140- 7:00pm Monday, April 11, 2011-Nielson/Young Scholarship Auditions Kresge Auditorium- 7:00pm Tuesday, April 12, 2011- Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14, 2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Tuesday, April 19,2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 20, 2011-Commencement Concert Kresge Auditorium- 7:00pm *The list above does not include daytime performances. Please consult the M usic Office for a list o f daytime performances. ** Miss Martin presents this recital in partial fulfillment o f the requirements for the Bachelor o f Music degree with an emphasis in Clarinet Performance. She is the student o f Dr. Harlow Hopkins. Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu A. I OLIVET Department of Music \W N A ZA R E N E If I UNIVERSITY SENIOR RECITAL Derek Corcoran piano with Dr. Karen Ball, piano Dr. Gerald Anderson, piano Brianna Robins, bassoon Rachel Fisher, harp Alicia Carter, soprano <&> 7:00 pm Monday, March 21, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Sonata in F Minor, Op. 57 (‘Appassionata’) L. Beethoven Allegro assai Andante con moto Allegro ma non troppo Mr. Corcoran, piano 3 Elegies pour Bassoon et Piano E. Naoumoff Intense et doux Lyrique mais sobre Melancolique et “slave” Brianna Robins, bassoon Dr. Gerald Anderson, piano The Perilous Night, No’s. 1, 4, and 5 J. Cage Mr. Corcoran, piano Seguidilla C. Salzedo Rachel Fisher, harp Africa, Op. 89 C. Saint-Saens Mr. Corcoran, piano Dr. Karen Ball, piano Don’t Cry for Me Argentina (from Evita) A. L. Weber Alicia Carter, soprano Dr. Gerald Anderson, piano Ballade No. 4, Op. 52 F. Chopin Mr. Corcoran, piano Mr. Corcoran presents this recital in partial fulfillment o f the requirements for the Bachelor o f Music degree with an emphasis in Piano Performance. He is the student o f Dr. Karen Ball. NOTES Appassionata Ludwig van Beethoven's Piano Sonata No. 23 in F minor, Op. 57, also known as the Appassionata, is considered one of the three great piano sonatas of his middle period (the others being the Waldstein, op. 53 and Les Adieux, op. 81 a). The work was composed shortly after Beethoven was struggling with the realization of his oncoming deafness. It was considered by Beethoven to be his most tempestuous Sonata. It is almost as if the listener can feel what Beethoven was going through. A Perilous Night John Cage is known for his unique sense of composition. A Perilous Night is a piece for prepared piano. Prior to a performance, the performer puts various items in the piano strings to create a sound not normally produced by a piano when the correlating key is struck. Objects that are utilized for this piece include bamboo, bolts, weather stripping, screws, and pieces of rubber. Africa Saint Saens was a French composer during the 19lh century who composed for nearly every genre of music. In his work Africa he takes the listener through a very programmatic journey that depicts what he saw on one of his visits to the continent of Africa. A standard performance of this work would normally be performed with a full orchestra. Ballade As stated by Robert Schumann, this Ballade was inspired by Adam Mickiewicz's poem The Three Budrys, which tells of three brothers sent away by their father to seek treasures, and the story of their return with three Polish brides. The piece starts with a melancholy introduction which ends suddenly followed by the main reoccurring theme. Compared to Chopin’s other ballades this one doesn’t have as many ‘outbreak’ sections of fast arpeggios or scales, however this piece contains some of Chopin’s most difficult writing both interpretively and technically. Thank you for turning off cellular phones and for refraining from the use of flash photography. Upcoming Events Tuesday, March 22, 2011- Orchestra/Chamber Ensembles Concert Kresge Auditorium- 7:00pm Thursday, March 24, 2011- Show Choir Concert Kresge Auditorium- 7:00pm Friday, March 25, 2011- Percussion Ensemble Concert Kresge Auditorium- 7:00pm Saturday, March 26, 2011-Adjunct Faculty Recital: Matt & Rachel Jacklin Kresge Auditorium- 7:00pm Thursday, March 31, 2011- A Day with Marvin Blickenstaff Larsen Fine Arts Center- 10am-5pm Thursday, March 31, 2011- Senior Recital: Joey Ramirez Kelley Prayer Chapel- 7:00pm Monday, April 4, 2011- Hopkins Scholarship Auditions Larsen Room 140- 7:00pm Tuesday, April 5, 2011- Hale/Wilder Scholarship Auditions Larsen Room 140- 7:00pm Monday, April 11,2011- Nielson/Young Scholarship Auditions Kresge Auditorium- 7:00pm Tuesday, April 12, 2011-Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14, 2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Friday, April 15,2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE r UNIVERSITY Dr. Neal Woodruff, conductor Saxophone Ensemble Angela Reedy, director Tuesday, March 22, 2011 7:00 pm Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Suite for Clarinet Violin and Piano Darius Milhaud III. Jeu IV. Introduction et Final Emily Martin, clarinet Lauren Wood, violin Desiree Hays, piano ***** La Cenerentola (Overture) G. Rossini Symphonie Classique, Op. 25 S. Prokofieff Allegro con brio Larghetto Gavotte Molto vivace University Orchestra Lisbon P. Grainger/trans. D. Bussick Saxophone Ensemble Kristin Cheney ♦ Derek Williams ♦ Desmond Handson Julianna Munyon ♦ lan Smith ♦ Shannon Finch ♦ Jeremy Schooler Beth Eddy ♦ Margaret O'Neill ♦ Renee Runyon Angela Reedy, director Symphony No.2 in D major, Op 73 J. Brahms Allegro non troppo Allegretto grazioso (Quasi Andantino) Allegro con spirit University Orchestra Uncoming Events • March 24: Show Choir Concert- Kresge, 7pm & 9pm • March 25: Percussion Ensemble Concert- Kresge, 7pm • March 26: Faculty Recital, Matt & Rachel Jacklin- Kresge, 7pm • March 31: Sr. Recital: Joey Ramirez- Kelley Chapel, 7pm • March 31: A Day with Marvin Blickenstaff • April 2: Gospel Choir Concert- Kresge, 7pm • April 4: Hopkins Scholarship Auditions- Rm.140, 7pm • April 5: Hale/Wilder Scholarship Auditions-Rm.140, 7pm • April 7-9: Spring Play-Kresge, 7pm* • April 11: Nielson/Young Scholarship Auditions- Kresge, 7pm • April 12: Orpheus Concert- Kresge, 7pm • April 14: Testament/Chrysalis Concert- Kresge, 7pm • April 15: Harp Ensemble Concert- Kresge, 7pm • April 19: Band Concert- Kresge, 7pm • April 26: Jazz Band & Concert Singers- Kresge, 7pm • April 28: Chamber Ensemble Concert- Kresge, 7pm • April 30: Commencement Concert- Kresge, 7pm* *This is a required event for all music majors and minors. University Orchestra Dr. Neal Woodruff, conductor Flute/Piccolo Percussion Viola Diane Rankin Mike Zaring Tianna Frey Marijke Bakker Melody Abbott Jennifer White Bryce Parker Zach Thomas Oboe Katie Hanley Joy Matthews Violin 1 Katelynn Dunkman Lauren Wood* ‘Cello Chantalle Falconer Allison Richmond Clarinet Rachel Tschetter Brian Kosek Emily Martin Amanda Winkle Andrew Nielson Elise Payne Caitlin Mills Elisabeth Holaway Rebecca Walker Erin Evans Bassoon Lauren Beatty Sarah DiLeonardo Ashley PitzerA Amanda Luby Heidi Watson Brianna RobinsA Annie Kincaid Desiree Hays Bass Hom Dustin Vail Sara Marrs Brittany HarrisA Jess Dillman Rebeckah Stems Violin 11 Tony Jacobs Kyle MillerA Emily Borger Jennifer Wilkerson Deidre Sheldon Christine Caven Nick Holden Emily Younglove Katelyn Emerson Trumpet Jordan Cramer Patrick Wright Tika Anderson * Concertmaster RaeMarie Donaldson Lauren Brennan A Co-principal Emily Sprik Trombone Lindsey Ramirez Ian Matthews Madelyn Lorenz Lauren Hausken Bethany Rush Josh Ring Alyssa Alt Sarah Jensen Tuba Emily Ohse Alex Kellogg Kayla Younglove Claire Dana Hope Olson NOTES La Cenerentola (Cinderella) is a drama giocoso (jocular drama) in two acts, composed by Gioachino Rossini at age 25. The overture is a reworking of the overture from his earlier opera La gazzetta. Prokofieff s Symphonie Classique, Op. 25 is a study in classical form set to early twentieth-century harmonies. The thematic content and use of form are among the most engaging features of the symphony. Prokofieff dedicated this work to Russian composer and critic Boris Asafieff, who said of this composition: “The composer’s idea in writing this work was to catch the spirit of Mozart, and to put down that which, if he were living now, Mozart might put into his scores.” The Symphony No. 2 in D major, Op. 73, was composed in the summer of 1877. Its composition was brief in comparison with the fifteen years it took Brahms to complete his First Symphony. The cheerfulness of the symphony is akin to the pastoral mood of Beethoven's Sixth. While the work is neither tragic nor especially dramatic, the dynamic of the first two movements is largely piano and reaches forte only in minor scales. The last two movements are lighter in dynamics and more brief. The interplay of contrasting melodies overlapping and being subtly passed around throughout the instruments of the orchestra allow for moods and colors to emerge from within similar textures. Thank you for turning off cell phones and for not using flash photography Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY ONU CLEF HAN GER! with Concert Singer: Dr. Neal Woodruff, director Gospel Choir Jasper Taylor, director 7:00 p.m. Thursday, March 24, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation National Anthem Clefhangers Show Choir ♦ ♦♦♦♦ In My Life J. Lennon and P.McCartney/ arr. Steve Zegree Solitude D. Ellington/arr. Paris Rutherford I Will Rejoice M. W. Smith and B. Darnell/ arr. T. Fettke Concert Singers ***** All in His Hands M. R. Biggham Everybody Clap Your Hands P. Gray Proclamation Gospel Choir ♦ ♦♦♦♦ Showchoir Medley arr. J. Ring and Z. Kohlmeier Clefhangers Combo ♦ ♦♦♦♦ “Love Is Worth Fighting For” Battlefield arr. J. Ring and B. Chemey (as performed by Jordin Sparks) Love Is Not A Fight arr. J. Ring and B. Chemey (as performed by Warren Barfield) Seth Lowery, tenor I’m A Believer arr. J. Ring and B. Chemey (as performed by Smashmouth) Clefhangers Show Choir Clefhangers Combo Thank you for turning o ff celI phones and for not using flash photography “Love Is Worth Fighting For” “Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. Love never fails.” -1 Corinthians 13:4-8 (New International Version, ©201 1) A Note From The Directors... The Clefhangers is an entirely student-led ensemble. We began rehearsals at the start of the Spring 2011 semester. Although, from the start, we knew how difficult of a task it would be to start an ensemble here at Olivet as involved as a show choir, we had no idea the amount of joy it would bring us. This ensemble has demanded full commitment and individual practice from all of its members and we are so grateful for a group of students who willingly and enthusiastically rose to the challenge. With a mere fourteen rehearsals, we are so proud of the show that we have to perform for you tonight. First and foremost, we would like to thank God for giving us the opportunity to serve Him through our talents and abilities. We look forward to glorifying Him through our performance tonight. We hope that the theme “Love Is Worth Fighting For” speaks to your heart through our music and lyrics the way that it has spoken to us. Enjoy. Ali Carter & Ashley Raffauf We would like to give a special thanks to LTC Peaslee and the Roaring Tiger Battalion for letting us borrow ROTC uniforms. We would also like to thank Dr. Reddick and the music faculty for their support of this new group. ONU Clefhangers Show Choir Ali Carter ❖ Lillian Guenseth ❖ Ashley Raffauf ❖ Alii Hill Gwen Holmes ❖ Becky Lowery ❖ Hannah Taylor Hillary Vaughan ❖ Caleb Carr ❖ Ben Geeding ♦> Kyle Hance Seth Lowery ❖ Mike Bishop ❖ Monty Larcom Chris LeFevre ❖ Seth Means ONU Clefhangers Combo Kristin Cheney, tenor saxophone ♦> Joel Deckard, drums Tyson Dodd, acoustic/rhythm guitar *> Kate Hausken, piano Zach Kohlmeier, trombone ❖ Ian Matthews, trombone Patrick Wright, trumpet ❖ Joey Ramirez, electric/lead guitar Josh Ring, bass ❖ Lucas Sanor, alto saxophone Concert Singers Dr. Neal Woodruff, conductor Alicia Carter ♦> Christine Caven ♦> Jonathan Mikhail Lillian Guenseth ♦> Gwen Holmes ❖ Ashley Raffauf ❖ Hillary Vaughn Sarah Ward ❖ Ben Geeding ❖ Chris LeFevre ❖ Seth Lowery David Rice ❖ Reuben Lillie ❖ Calley Seefeldt Andrew Nielson ❖ Blake Reddick Directors - Ali Carter & Ashley Raffauf Faculty Sponsor- Dr. Reddick Combo music arranger - Josh Ring Choir music arranger - Ben Cherney Choreographer - Hannah Jacobson Stage crew- Brad Palmer, Brad Sytsma, Ben Cherney Lights - G.J. Frye Sound - Kaleb Soller Costume Assistant - Shelby Van Buren Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music N A Z A R E N E r UNIVERSITY 9:30 a.m. Friday, March 25, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Prelude in C Minor, op. 28 No. 20 F. Chopin Jamila Coker, piano Intrada for Trumpet in C O. Ketting Patrick Wright, trumpet Come unto Him (from Messiah) G. F. Handel Ashley Naffziger, soprano Andrea Richardson, piano Etude #2 D. Popper Elisabeth Holaway, cello Etude F. Carulli Shaun Whennen, guitar Then Shall the Eyes of the Blind Be Opened (from Messiah) G.F. Handel He Shall Feed His Flock Like a Shepherd (from Messiah) G.F. Handel Alii Hill, alto Dr. Jeff Bell, piano Etude in B Minor Drouet/V oxman Adagio cantabile Kristin Cheney, saxophone How Could I Ever Know (from The Secret Garden) L. Simon Alicia Williams, soprano Andrea Richardson, piano From the Cradle B. Courtier Malik Temple, marimba Moonlight Sonata L. Beethoven/ arr. B. Gottlieb and M. Abbott Bryce Parker, vibraphone Andy Barnard, bells Melody Abbott, marimba Table Music T. De Mey Mike Zaring, Austin Lappe, Mike Neil, percussion Upcoming Events March 25: Percussion Ensemble Concert- Kresge, 7pm March 26: Faculty Recital, Matt & Rachel Jacklin- Kresge, 7pm March 31: Sr. Recital: Joey Ramirez- Kelley Chapel, 7pm March 31: A Day with Marvin Blickenstaff April 2: Gospel Choir Concert- Kresge, 7pm April 4: Hopkins Scholarship Auditions- Rm.140, 7pm April 5: Hale/Wilder Scholarship Auditions-Rm.140, 7pm April 7-9: Spring Play-Kresge, 7pm April 11: Nielson/Young Scholarship Auditions- Kresge, 7pm April 12: Orpheus Concert- Kresge, 7pm April 14: Testament/Chrysalis Concert- Kresge, 7pm April 15: Harp Ensemble Concert- Kresge, 7pm April 19: Band Concert- Kresge, 7pm April 26: Jazz Band & Concert Singers- Kresge, 7pm April 28: Chamber Ensemble Concert- Kresge, 7pm April 30: Commencement Concert- Kresge, 7pm* *This is a required event for all music majors and minors * These events do not include the morning concerts. Please see the music department for a list of morning events. ** Thank you for turning off cell phones and for not using flash photography OLIVET Department of Music NAZARENE UNIVERSITY :(atunng Walton irimba with Dr. Gerald Anderson Piano ♦ ♦ ♦ ♦ ♦ 7:00 p.m. Friday, March 25, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Excerpts from Angels Stuart Saunders Smith I. Angels Talking II. Angels Crying III. Angels Becoming the Wind Melody Abbott, Andy Barnard, Katelyn Dunkman ♦♦♦♦♦♦ Aurora Borealis John Thrower I. Starry Night Adam Walton, Marimba Melody Abbott, Mike Neil, Bryce Parker, Mike Zaring ♦♦♦♦♦♦ Excerpts from Angels Stuart Saunders Smith Moonlight Sonata Beethoven/arr. Beth Gottlieb Melody Abbott, Andy Barnard, Bryce Parker, Dustin Southe, Seth Wenzelman ♦♦♦♦♦♦ Excerpts from Angels Stuart Saunders Smith Ceiling Full of Stars Blake Tyson Melody Abbott, Andy Barnard, Chris Field, Mike Neil Bryce Parker, Seth Wenzelman, Amanda Winkle, Mike Zaring ♦♦♦♦♦♦ Excerpts from Angels Stuart Saunders Smith Table Music Thierry De May Austin Lappe, Mike Neil, Mike Zaring ♦♦♦♦♦♦ Excerpts from Angels Stuart Saunders Smith The Glory and the Grandeur Russell Peck Joel Deckard, Chris Field, Kaleb Soller Dr. Gerald Anderson, Piano i Thank you for turning off cellular phones and for refraining from the use of flash photography. OLIVET Department of Music NAZARENE UNIVERSITY A Ministry in Music Dr. Jeff Bell, conductor 2011 Spring Tour Charlevoix, MI Traverse City, MI Grand Haven, MI PROGRAM SELECTED FROM: A Mighty Fortress is Our God Luther; arr. Mueller Alma Mater B. Carmony Amazing Love! D. Rasbach Be Ye Glad arr. B. Greer Great Is Thy Faithfulness arr. J. Rouse How Deep the Father’s Love arr. J. Bell I'm Gonna Sing ‘til the Spirit Moves in My Heart M. Hogan Laudate R. Clausen Let Your Glory Fall arr. J. Rouse O, Mighty Cross arr. T. Fettke Prayer R. Clausen Rejoice in the Lord 16lh Century English SAUL E. Hovland Song of Praise K. Nystedt The Lord Bless You and Keep You P. Lutkin Three recordings of Orpheus Choir are available: A Mighty Fortress Great Is Thy Faithfulness Love Came Gently PERSONNEL SOPRANO ALTO Laura Bruns Watseka, IL Amanda Cook Aurora, IL Ali Carter* Bourbonnais, IL Libby Devine Elgin, IL Christine Caven Boise, ID Emily Dillard Galesburg. IL Lindsay Close Flushing, MI Laura Fleschner Terre Haute. IN Andrea Dunahee Gibson City, IL Lillian Guenseth Galesburg. IL Taylin Frame Centreville, VA Lindsey Hayes Galesburg. IL Gwen Holmes Princeton, IL Rebekah Hazen Pekin, IL Laura M'Cague* New Lenox, IL Alii Hill Quincy, IL Megan Radcliffe Charleston, Wv Megan Huntsman Portland, IN Ashley Raffauf Homewood, IL Cindy Jackson* Herscher, IL Anna Reed Huntington, IN Stephanie Johnson Madison, WI Rebecca Rodeheaver San Diego, CA Andrea LaMontagne Kankakee. IL Michelle Towle Waterville, VT Rebecca Lowery Kankakee, IL Sarah Ward Wheaton, IL Audrey Mikhail Joplin, MO Alicia Williams Tecumseh, MI Elizabeth Morley Valparaiso, IN Kate Wilson Daleville, IN Taylor Reckcr New Lenox. IL Samantha Starner* Chandler. AZ Hillary Vaughn Kankakee, IL BASS Heather W'illoughby* Elkhart. IN Anthony Allen Bourbonnais, IL Jake Boss Tinley Park, IL Ben Cherney* Escanaba, MI TENOR Paul Drace Black River Falls, WI Caleb Carr Orangeville, IL Neil Frazer Spooner, WI Cameron Dunlop* Huntington. IN Ben Geeding Manteno, IL Kyle Hance Carthage. MO Jase Hackman Manhattan, IL Matthew Kee Yorkville, IL Keegan Hurt Kalamazoo, MI Seth Lowery Kankakee. IL Chris LeFevre Ashton, IL Merrick Robison Marion, IA Reuben Lillie Greenville, PA Brad Sytsma Grand Rapids, MI Seth Means Honey Creek, IA Wesley Taylor Joliet. IL Andrew Moore Hastings, MI Jason Walker Minneola, KS Ian Morley Valparaiso, IN Nate Waller* Oblong, IL Andrew Nielson Olathe, KS Brad Palmer Franklin, IN Joel Ramirez* Cicero, IL David Rice Traverse City, MI ACCOMPANIST Ryan Shrout Jacksonville, FL Andrea Richardson Bloomington. IL ♦Officer ORPHEUS CHOIR Orpheus Choir, now in its eighth decade of annual performances, represents Olivet in concerts on the university’s educational region (Illinois, Indiana, Michigan, and Wisconsin), and has sung at many general assemblies of the Church of the Nazarene. The choir was founded by Prof. Walter B. Larsen in 1932. Prof. Naomi Larsen, led the choir after her husband’s passing in 1957, conducting until 1972. Dr. D. George Dunbar served as conductor of Orpheus from 1972 until retiring in 1999. Appointed conductor of Orpheus Choir in 1999, Dr. Jeff Bell serves as Professor of Music at Olivet, where he earned an undergraduate degree in Music Education in 1981. He also earned the M.Mus. degree from the University of Illinois in 1983, and the Doctor of Arts degree from Ball State University in 1996. Orpheus Choir has appeared in concerts across the nation, as well as Canada, Mexico, and Israel. It has performed twice at the National Cathedral in Washington, D.C., and three times at the U.S. Air Force Academy in Colorado. Orpheus Choir was selected to sing at two national Music Educators National Conference conventions in California, and has sung at the Illinois Music Education Association convention. The choir also represented Olivet at the annual Praise Gathering in Indianapolis from 1978 to 2005. The repertoire of this select group of singers includes anthems, hymns, spirituals, and contemporary compositions, representing different styles and periods of choral music. To learn more about what is offered by Olivet’s Music Department visit us at www.music.olivet.edu. OLIVET NAZARENE UNIVERSITY "Education With a Christian Purpose." Since 1907, Olivet Nazarene University has made this more than a motto, but a mission. At Olivet, considered one of the nation's premier Christian colleges, faith is at the heart of superior academics, athletics, social atmosphere and ministry opportunities. Here students not only learn how to make a living, they learn how to live. Since Olivet's founding, more than 20,000 degrees have been granted to graduating students. Whether their chosen fields are in medicine, business, education, ministry, or a myriad of other professions, Olivetians make a difference in the world for Christ and His kingdom. At Olivet, ambitious dreams meet uncommon opportunity. One University Avenue, Bourbonnais, IL 60914 1-800-648-1463 [email protected] Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE r UNIVERSITY Faculty Recital Matthew Jacklin marimba Dr. Gerald Anderson, piano Rachel Jacklin, violin Ember Miller, clarinet ♦ ♦ ♦ ♦ ♦ 7:00 p.m. Saturday, March 26, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Canyon Kevin Puts I. Toccata II. Cadence III. Canyon IV. Cadence V. Toccata Matt Jacklin, marimba Ritual Protocol Kevin Puts I. II. III. Matt Jacklin, marimba Dr. Gerald Anderson, piano And Legions Will Rise Kevin Puts Matt Jacklin, marimba Rachel Jacklin, violin Ember Miller, clarinet Thank you for turning off cellular phones and for refraining front the use of flash photography. Upcoming Events March 31: Sr. Recital: Joey Ramirez- Kelley Chapel, 7pm March 31: A Day with Marvin Blickenstaff April 2: Gospel Choir Concert- Kresge, 7pm April 4: Hopkins Scholarship Auditions- Rm.140, 7pm April 5: Hale/Wilder Scholarship Auditions-Rm.140, 7pm April 7-9: Spring Play-Kresge, 7pm April 11: Nielson/Young Scholarship Auditions- Kresge, 7pm April 12: Orpheus Concert- Kresge, 7pm April 14: Testament/Chrysalis Concert- Kresge, 7pm April 15: Harp Ensemble Concert- Kresge, 7pm April 19: Band Concert- Kresge, 7pm April 26: Jazz Band & Concert Singers- Kresge, 7pm April 28: Chamber Ensemble Concert- Kresge, 7pm April 30: Commencement Concert- Kresge. 7pm* *This is a required event for all music majors and minors * These events do not include the morning concerts. Please : the music department for a list of morning events. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY STUDENT RECITAL 9:30 a.m. Monday, March 28, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation G Major Muller/V oxman Allegro moderato, ma brillante Renee Runyan, saxophone Amarilli, mia bella G. Caccini Jason Walker, tenor Dr. Jeff Bell, piano Tuba Rhapsody C. Grundman Alex Kellogg, tuba Prof. Ryan Schultz, piano Serenade H. Hanson Diane Rankin, flute Desiree Hays, piano Children of Eden (from Children of Eden) S. Schwartz Hannah Taylor Etiiden fur Timpani R. Hochrainer Allyse Groover, timpani Ich liebe dich L. Beethoven Kerry VanSyckle, mezzo-soprano Elise Payne, piano Pie Jesu (from Requiem) G. Faure Lillian Guenseth, soprano Andrea Richardson, piano Nobody Needs to Know J. R. Brown Andrew Nielson, baritone Kate Hausken, piano Upcoming Events March 31: Sr. Recital: Joey Ramirez- Kelley Chapel, 7pm March 31: A Day with Marvin Blickenstaff April 2: Gospel Choir Concert- Kresge, 7pm April 4: Hopkins Scholarship Auditions- Rm.140. 7pm April 5: Hale/Wilder Scholarship Auditions-Rm.140, 7pm April 7-9: Spring Play-Kresge, 7pm April 11: Nielson/Young Scholarship Auditions- Kresge, 7pm April 12: Orpheus Concert- Kresge, 7pm April 14: Testament/Chrysalis Concert- Kresge, 7pm April 15: Harp Ensemble Concert- Kresge, 7pm April 19: Band Concert- Kresge. 7pm April 26: Jazz Band & Concert Singers- Kresge, 7pm April 28: Chamber Ensemble Concert- Kresge. 7pm April 30: Commencement Concert- Kresge, 7pm* *This is a required event for all music majors and minors ** These events do not include the morning concerts. Please see the music department for a list of morning events. ** Tltank you for turning off cell phones and for not using flash photography Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY T Jol SENIOR RECITAL Joey Ramirez bass with Andrea Richardson, piano Calley Seefeldt, soprano Elizabeth Morley Freddie Franken, guitar Patrick Wright, flugelhom Kelsey Sowards, mezzo-soprano Joel Deckard, drums Tyson Dodd, guitar Jesse Dillman, acoustic bass 7:00 pm Thursday, March 31, 2011 Kelley Prayer Chapel PROGRAM Invocation Aurore G. Faure Madrigal V. D'Indy Mr. Ramirez The Beauty is (from The Light in the Piazza) A. Guettel Miss Seefeldt O Isis und Osiris (from Die Zauber flote) W. A. Mozart Ich Liebe Dich L. Beethoven Nachtlied R. Schumann Mr. Ramirez Arabesque No. 1 C. Debussy Miss Morley, piano Cara, Cara e Dolce A. Scarlatti Io le diro che l'amo G. F. Handel with Miss Richardson Sabor a mi A. Carrillo with Prof. Franken The Summer Knows (from The Summer o f ’42) M. Legrand Mr. Wright Prof. Franken Come Again J. Dowland Younger Than Springtime O. Hammerstein/ R. Rodgers (from South Pacific) All the Way (from The Joker) J. Van Heusen / S. Cahn with Miss Sowards Long Ago And Far Away (from Cover Girl) I. Gershwin / J. Kern Tell Her You Love Her H. Denison / H. Halliday I'll Know (from Guys and Dolls) F. Loesser Mr. Ramirez Come Fly With Me J. Van Heusen / S. Cahn Mr. Ramirez with Mr. Deckard, Mr. Dodd, and Mr. Dillman Thank you for turning off cellular phones and for refraining from the use of flash photography. NOTES Aurore Translation: From the gardens of the night the stars fly away, Golden bees attracted by an unseen honey, and td the dawn, in the distance, spreading the brightness of its canvas, Weaves silver shreds into the sky’s blue mantle. From the garden of my heart, intoxicated by a languid dream My desires fly away with the coming of the morn, like a light swarm to the coppery horizon, Called by a plaintive song, eternal and far away. They fly to your feet, stars chased by the clouds, Exiled form the golden sky where your beauty blossomed, and, seeking to come near you on uncharted paths, Mingle their dying light with the dawning day. M adrigal Poem by Robert De Bonnieres Translation: Who was ever more charming face, neck whiter, hair silkier, Who was ever more nice blouse, Who never was, that my lady with gentle eyes! Who never had more lips smiling, smiling who made the heart more joyous, more chaste breast under guimpos transparent, Who never took my eyes to the sweet lady! Who never had a sweeter voice heard, Cute teeth mouth emperlent better; Whoever was looking at so tender, Who never was, that my lady with gentle eyes! Nachtlied Translation: Over all the peaks, is peace In all tops, you hearest, hardly a breath; The birds in the forest. Just wait, soon You will rest well. Ich Liebe Dich Translation: I love you dear, as you love me, today and all tomorrows, we share each day with simple joy, and also share life’s sorrows. Each moment of our days we fill with graceful love and gladness; you comfort me when I am low, my tears assuage your sadness, assuage you r sadness. May God’s kind blessings be on you, my love, my life, my treasure; may God protect and hold you near, and give us joy and pleasure. May God protect and hold you near, and give us joy and pleasure! And give us joy and pleasure! Beyond all measure. O Isis and Osiris Translation: O Isis and Osiris, grant, the wisdom of mind to the new couple! Their lenket Wanderer the steps, Strengthen them with patience in danger. Let them see the fruits of the test, But they should go to his grave, Reward their courageous course; Take them up in your abode. Cara, Cara e Dolce Translation: Dearest liberty, Dearest liberty, dearest liberty of life, dearest liberty of life. You console my spirit now; no more servitude allow, if my heart is free of strife, if my heart is free of strife. Dearest liberty, dearest liberty, dearest liberty of life. Dearest liberty of life, dearest liberty of life. Io le diro che Tamo Translation: I will tell her that I love her and 1 will not be fearful. I desire her for my own; I know what 1 must do. Sabor a Mi So long enjoyed this love our souls and approached both 1 keep your taste but you also wear taste of me. If you deny my presence in your life enough to hold you and talk I gave you so much life strength that you already taste of me. I do not pretend to be your master. I am nothing I have no vanity give me the good life. 1 am so poor, what else I can give. Spend more than a thousand years, many more. 1 do not know if eternity has love but there as here in the mouth will carry taste of me. Mr. Ramirez presents this recital in partial fulfillment o f the requirements for the Bachelor of Arts in Music degree with an emphasis in Voice. He is the student o f Dr. Neal Woodruff. Upcoming Events Monday, April 4, 2011- Hopkins Scholarship Auditions Larsen Room 140- 7:00pm Tuesday, April 5, 2011- Hale/Wilder Scholarship Auditions Larsen Room 140- 7:00pm Monday, April 11, 2011- Nielson/Young Scholarship Auditions Kresge Auditorium- 7:00pm Tuesday, April 12, 2011 - Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14, 2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Friday, April 15, 2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music N A ZA R E N E r | UNIVERSITY UPPER DIVISION HEARING RECITAL 9:30 a.m. Monday, April 04, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Sebben, Crudele A. Caldara The Man I love (from Lady, Be Good!) G. Gershwin Gretchen am Spinnrade F. Schubert Gwen Holmes, soprano Kate Hausken, piano Concerto No. 1 in G Minor, Op. 25 F. Mendelssohn Molto allegro con fuoco with Dr. Gerald Anderson, piano Le cou cou L. Daquin Rondeau Sonata in E Minor F. J. Haydn Presto Sacro-Monte, Op. 55, no. 5 J. Turina Desiree Hays, piano Se Florindo e fedele A. Scarlatti En priere G. Faure Beyond My Wildest Dreams A. Menken/ G. Slater (from The Little Mermaid) Kate Wilson, soprano Andrea Richardson, piano Thank you for turning off cellular phones and for refraining from the use of flash photography. Upcoming Events Monday, April 4, 2011- Hopkins Scholarship Auditions Larsen Room 140- 7:00pm Tuesday, April 5, 2011- Hale/Wilder Scholarship Auditions Larsen Room 140- 7:00pm Monday, April 11, 2011- Nielson/Young Scholarship Auditions Kresge Auditorium- 7:00pm Tuesday, April 12, 2011- Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14, 2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Friday, April 15, 2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY SCHOLARSHIP AUDITION 7:00 p.m. Monday, April 04, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Portraits in Rhythm No. 2 A. Cirone snare drum Sonata No. 1 W. Schinstine Movement 2 timpani Concertino T. Mayuzumi Movement 1 marimba Melody Abbott Etude # 1 for Marimba P. Smadbeck marimba Sonata No. 2 W. Schinstine timpani Sea Refractions M. Peters marimba Inspirations Diabolique R. Tagawa Introduction multiple percussion Christopher Field Image B. Quartier Slip’n1 Slide Why?... Music Box marimba Portraits in Rhythm No. 13 A. Cirone snare drum Four Pieces for Timpani J. Bergamo Elegia Finale timpani Mike Zaring Sonata (BWV 1032) J. S. Bach Vivace Largo e dolce Allegro Serenade, Op. 35 H. Hanson Diane Rankin, flute Desiree Hays, piano Romance No. 1, Op. 94 R. Schumann Orientale, Op. 50 C. Cui Adagio, K. 580 W. A. Mozart Gabriel’s Oboe E. Morricone Katelyn Dunkman, oboe Desiree Hays, piano THE HOPKINS SCHOLARSHIP The Russel G. and Verda E. Hopkins Scholarship was established by Dr. and Mrs. Harlow Hopkins in m em ory o f his parents. The scholarship is available to music majors whose applied instrument is in the area of winds, strings, or percussion, and it is awarded annually through a competitive audition. Thank you for turning off cellular phones and for refraining from the use o f flash photography. Upcoming Events Monday, April 4, 2011- Hopkins Scholarship Auditions Larsen Room 140- 7:00pm Tuesday, April 5, 2011- Hale/Wilder Scholarship Auditions Larsen Room 140- 7:00pm Monday, April 11, 2011- Nielson/Young Scholarship Auditions Kresge Auditorium- 7:00pm Tuesday, April 12, 2011- Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14, 2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Friday, April 15,2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE ♦UNIVERSITY HALE/WILDER VOCAL SCHOLARSHIP AUDITIONS 7:00 p.m. Tuesday, April 5, 2011 Room 140 Larsen Fine Arts Center PROGRAM Invocation Sebben, crudele A. Caldara Rose Cherie, Aimable Fleur A. Gretry Mit Einem Gemalten Bant L. Beethoven Brother Will, Brother John J. Sacco Ben Geeding, tenor Andrea Richardson, piano Ich Liebe Dich L. Beethoven The Call (from Five Mystical Songs) R. Vaughn Williams L’Heure Exquise R. Hahn Per me giunto (from Don Carlo) G. Verdi David Rice, baritone Dr. Jeff Bell, piano Sea-Shell C. Engel Mein Herr Marquis (from Die Fledermaus) J. Strauss Les Cloches C. Debussy E strano.. .Sempre libera (from La Traviata) G. Verdi Ashley Raffauf, soprano Andrea Richardson, piano Vittoria, vittoria, mio core G. Carissimi Love’s Philosophy R. Quilter Aubade C. Widor Standchen J. Brahms Caleb Carr, tenor Dr. Jeff Bell, piano Vieille Chanson G. Bizet Heimliche Aufforderung Op. 27. No. 3 R. Strauss Saper vorreste (from Un Ballo in Maschera) G. Verdi Wind O’ the Westland Op. 77, No. 2 A. Beach Calley Seefeldt, soprano Andrea Richardson, piano Oh! Had I Jubal’s Lyre G. F. Handel Gretchen am Spinnrade F. Schubert Bonne Nuit J. Massenet Sebben Crudele A. Caldara Gwen Holmes, soprano Kate Hausken, piano Quando m’en vo (from La Boheme) G. Puccini Wer hat dies Liedlein erdacht G. Mahler Serenade J. A. Carpenter II est doux, il est bon (from Herodiade) J. Massanet Alicia Carter, soprano Dr. Gerald Anderson, piano Kate Hausken, piano Questa o quella (from Rigoletto) G. Verdi Die Sonne scheint nicht mehr (from Deutsche Volkslieder) J. Brahms Bonjour, Suzon! L. Delibes Then shall the righteous shine forth (from Elijah) F. Mendelssohn Seth Lowery, tenor Andrea Richardson, piano Thank you for turning off cellular phones and for refraining from the use of flash photography. THE HALE-WILDER VOICE SCHOLASHIP The scholarship is available to music majors with Voice as their applied area. Selection is made through a competitive audition in which participants sing four pieces, one each in English, Italian, French, and German. THE BENEFACTORS ROBERT HALE, distinguished leading bass-baritone of NYC’s Metropolitan Opera- as well as nearly every major opera house on four continents- has enjoyed a singing career spanning more than five decades. The late DEAN WILDER was chairman of the voice departments of Westminster Choir College (Princeton, NJ) and William Jewell College (Liberty, MO). Concurrent with their individual professional commitments, Messers Hale & Wilder collaborated in a joint singing career (1964-1984) which resulted in 15 albums of music and some 4,000 personal appearances throughout the world, most of them performed with pianist-conductor- arranger, Ovid Young. Several of those concerts took place on ONU’s campus. Upcoming Events Monday, April 11, 2011- Nielson/Young Scholarship Auditions Kresge Auditorium- 7:00pm Tuesday, April 12, 2011- Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14, 2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Friday, April 15, 2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY s !* It T fr ? UPPER DIVISION HEARING RECITAL 9:30 a.m. Friday, April 8, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Portraits in Rhythm No. 2 A. Cirone snare drum Sonata No. 1 W. Schinstine Movement 2 timpani Concertino T. Mayuzumi Movement 1 marimba Melody Abbott Dr. Gerald Anderson, piano Voi che sapete (from Le Nozze di Figaro) W.A. Mozart Bonjour, Suzon! L. Delibes Love Changes Everything (from Aspects of Love) A. Lloyd Webber Johnny Doolan’s Cat arr. K. Shackleton Ellen Miller, mezzo-soprano Dr. Jeff Bell, piano Villanelle H. Berlioz What Good Would the Moon Be? (from Street Scene) K. Weill Zigeunerlieder I J. Brahms Practically Perfect (from Mary Poppins) G. Stiles Alyssa Norden, soprano Andrea Richardson, piano Sonata No. 1 J.S. Bach Adagio cantabile Violin Concerto in E Minor F. Mendelssohn Allegro, molto appassionato Ann Kincaid, violin Desiree Hays, piano E Strano.. .Sempre Libera (from La Traviata) G. Verdi Gimme, Gimme (from Thoroughly Modern Millie) J. Tesori Ashley Raffauf, soprano Andrea Richardson, piano Ich liebe dich L. Beethoven Che faro senza Euridice (from Orfeo ed Euridice) C. Gluck O mio babbino caro (from Gianni Schicchi) G. Puccini Somebody, Somewhere (from The Most Happy Fella) F. Loesser Kendra Cable, soprano Dr. Jeff Bell, piano Lachen und Weinen F. Schubert Ch’io mai vi possa (from Seroe) G. F. Handel I Love All Graceful Things E. Thiman A Girl in the Army (from Mother Goose & Co.) E. Borishansky Kristin Rinehart, mezzo-soprano Andrea Richardson, piano Thank you for turning off cellular phones and for refraining from the use of flash photography. Upcoming Events Monday, April 11, 2011- Nielson/Young Scholarship Auditions Kresge Auditorium- 7:00pm Tuesday, April 12, 2011- Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14, 2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Friday, April 15, 2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu VI OLIVET Department of Music m N A ZA R EN E "r UNIVERSITY UPPER DIVISION HEARING RECITAL 9:30 a.m. Monday, April 11, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Etude 1 for Marimba P. Smadbeck marimba Sonata No. 2 W. Schinstine Movement III timpani Inspirations Diabolique R. Tagawa Introduction multiple percussion Chris Field Italian Concerto J. S. Bach Allegro Piano Concerto No. 2 in G Minor, Op. 22 C. Saint-Saens Andante Sostenuto Josh Ring, piano Liebst du um Schonheit C. Schumann Che faro senza Euridice (from Orfeo ed Euridice) C. Gluck Love in the Dictionary C. Dougherty Megan Huntsman, contralto Andrea Richardson, piano Six Studies in English Folk Songs R. Vaughn Williams Adagio Andante et Allegro J. Ed. Barat Zachary Kohlmeier, trombone Josh Ring, piano Song Without Words F. Mendelssohn Presto e Molto Vivace Ballade S. Barber Ben Cherney, piano Sonata in D Major J. M. Leclair 1st Movement Concerto in C Major, Op. 48 for Violin and Piano D. Kabalevsky 1st Movement Rachel Tschetter, violin Desiree Hays, piano Du bist die Ruh F. Schubert Lascia chio pianga G. F. Handel Dream Valley R. Quilter Bailey Zeilenga, mezzo-soprano Andrea Richardson, piano Miroirs La Vallee des Cloches M. Ravel Romanze Op. 118, No. 5 j. Brahms Kyrstin Stephens, piano Thank you for turning off cellular phones and for refraining from the use o f flash photography. Upcoming Events Monday, April 11, 2011- Nielson/Young Scholarship Auditions Kresge Auditorium- 7:00pm Tuesday, April 12, 2011- Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14, 2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Friday, April 15, 2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY NIELSON/YOUNG PIANO SCHOLARSHIP AUDITIONS 6:30 p.m. Monday, April 11, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Miroirs: La vallee des cloches M. Ravel Sonata, Op. 7 L. Beethoven Largo, con gran espressione Romanze Op. 118, No. 5 J. Brahms Kyrstin Stephens, piano ♦J> «£► A Concerto 1 in G Minor, Op. 25 F. Mendelssohn Molto allegro confuoco Le coucou L. C. Daquin Rondeau Sonata in E Minor F. J. Haydn Presto Sacro-Monte Op. 55, No. 5 J. Turina Desiree Hays, piano Concerto in A Minor Op. 54 R. Schumann Fantasia in C Minor K 396 W. A. Mozart Sarcasm Op. 17, No. 3 S. Prokofieff Andrea Richardson, piano «£♦ Italian Concerto J. S. Bach Movement 1 I Love Vienna D. Brubeck Piano Concerto No. 2 in G Minor, Op. 22 C. Saint-Saens Andante Sostenuto Josh Ring, piano **♦ ♦♦♦ Prelude in D Minor WTC Vol. 1 J. S. Bach Sonata in Bb Major W. A. Mozart Allegro Nocturne in F Minor, Op. 55 No. 1 F. Chopin Fantastic Dance No. 1 D. Shostakovich Chantalle Falconer, piano Etude Op. 10, No. 3 F. Chopin Sonata Op. 10, No. 1 L. Beethoven Adagio Molto Piano Concerto No. 2 S. Rachmaninoff Moderato Prelude No. 1 (from Six Preludes) R. Muczynski Chris LeFevre, piano Drei Intermezzi Op. 17, Nos. 2 & 3 J. Brahms Sonata K 310 W. A. Mozart Presto Touches 1,2, 4, 7, 10 L. Bernstein Elizabeth Morley, piano Thank you for turning off cellular phones and for refraining from the use o f flash photography. THE NIELSON/YOUNG PIANO SCHOLARSHIP Duo-pianists Stephen Nielson and Ovid Young are the benefactors that make possible this scholarship. They met while both faculty members of the Olivet Nazarene University Music Department, and they continue to maintain busy careers in performances throughout the world. Prof. Young has since returned to ONU as Artist-in-Residence. The Scholarship is available to Music Majors whose applied instrument is piano, and it is awarded through a competitive audition where the pianists must play a fifteen-minute program including works from at least three style periods. Upcoming Events Tuesday, April 12, 2011- Orpheus Choir Concert Kresge Auditorium- 7:00pm Thursday, April 14, 2011- Testament & Chrysalis Concert Kresge Auditorium- 7:00pm Friday, April 15, 2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu OLIVET Department of Music NAZARENE UNIVERSITY A Ministry in Music Dr. Jeff Bell, conductor 7 :00 p.m. Tuesday, April 12, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM SELECTED FROM: A Mighty Fortress is Our God Luther; arr. Mueller Alma Mater B. Carmony Amazing Love! D. Rasbach Be Ye Glad arr. B. Greer Great Is Thy Faithfulness arr. J. Rouse How Deep the Father’s Love arr. J. Bell I’m Gonna Sing ‘til the Spirit Moves in My Heart M. Hogan Laudate R. Clausen Let Your Glory Fall arr. J. Rouse O, Mighty Cross arr. T. Fettke Prayer R. Clausen Rejoice in the Lord 16th Century English SAUL E. Hovland Song of Praise K. Nystedt The Lord Bless You and Keep You P. Lutkin Three recordings of Orpheus Choir are available: A Mighty Fortress Great Is Thy Faithfulness Love Came Gently: A Collection for Christmas PERSONNEL SOPRANO ALTO Laura Bruns Watseka, IL Amanda Cook Aurora, IL Ali Carter* Bourbonnais, IL Libby Devine Elgin, IL Christine Caven Boise, ID Emily Dillard Galesburg. IL Lindsay Close Flushing, Ml Laura Fleschner Terre Haute, IN Andrea Dunahee Gibson City, IL Lillian Guenseth Galesburg. IL Taylin Frame Centreville, VA Lindsey Hayes Galesburg, IL Gwen Holmes Princeton. IL Rebekah Hazen Pekin, IL Laura M'Cague* New Lenox, IL Alii Hill Quincy, IL Megan Radcliffe Charleston, Wv Megan Huntsman Portland, IN Ashley Raffauf Homewood, IL Cindy Jackson* Herscher. IL Anna Reed Huntington, IN Stephanie Johnson Madison. WI Rebecca Rodeheaver San Diego, CA Andrea LaMontagne Kankakee. IL Michelle Towle Waterville. VT Rebecca Lowery Kankakee. IL Sarah Ward Wheaton, IL Audrey Mikhail Joplin. MO Alicia Williams Tecumseh, MI Elizabeth Morley Valparaiso. IN Kate Wilson Daleville, IN Taylor Recker New Lenox. IL Samantha Starner* Chandler. AZ Hillary Vaughn Kankakee. IL BASS Heather W'illoughby* Elkhart. IN Anthony Allen Bourbonnais, IL Jake Boss Tinley Park, IL Ben Cherney* Escanaba, MI TENOR Paul Drace Black River Falls, WI Caleb Carr Orangeville. IL Neil Frazer Spooner, WI Cameron Dunlop* Huntington. IN Ben Geeding Manteno, IL Kyle Hance Carthage. MO Jase Hackman Manhattan, IL Matthew Kee Yorkville, IL Keegan Hurt Kalamazoo, MI Seth Lowery Kankakee. IL. Chris LeFevre Ashton. IL Merrick Robison Marion. IA Reuben Lillie Greenville, PA Brad Sytsma Grand Rapids. Ml Seth Means Honey Creek, IA Wesley Taylor Joliet. IL Andrew Moore Hastings, MI Jason Walker Minneola. KS Ian Morley Valparaiso, IN Nate Waller* Oblong. IL Andrew Nielson Olathe, KS Brad Palmer Franklin, IN Joel Ramirez* Cicero, IL David Rice Traverse City, MI ACCOMPANIST Ryan Shrout Jacksonville, FL Andrea Richardson Bloomington. IL ‘ Officer ORPHEUS CHOIR Orpheus Choir, now in its eighth decade of annual performances, represents Olivet in concerts on the university’s educational region (Illinois, Indiana, Michigan, and Wisconsin), and has sung at many general assemblies of the Church of the Nazarene. The choir was founded by Prof. Walter B. Larsen in 1932. Prof. Naomi Larsen, led the choir after her husband’s passing in 1957, conducting until 1972. Dr. D. George Dunbar served as conductor of Orpheus from 1972 until retiring in 1999. Appointed conductor of Orpheus Choir in 1999, Dr. Jeff Bell serves as Professor of Music at Olivet, where he earned an undergraduate degree in Music Education in 1981. He also earned the M.Mus. degree from the University of Illinois in 1983, and the Doctor of Arts degree from Ball State University in 1996. Orpheus Choir has appeared in concerts across the nation, as well as Canada, Mexico, and Israel, and will travel to Nairobi, Kenya and London in 2011. It has performed twice at the National Cathedral in Washington, D.C., and three times at the U.S. Air Force Academy in Colorado. Orpheus Choir was selected to sing at two national Music Educators National Conference conventions in California, and has sung at the Illinois Music Education Association convention. The choir also represented Olivet at the annual Praise Gathering in Indianapolis from 1978 to 2005. The repertoire of this select group of singers includes anthems, hymns, spirituals, and contemporary compositions, representing different styles and periods of choral music. To learn more about what is offered by Olivet’s Music Department visit us at www.music.olivet.edu. Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu A. I OLIVET Department of Music m N A ZA R EN E V I UNIVERSITY CHRYSALIS & TESTAMENT CONCERT 7:00 p.m. Thursday April 14, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Close to Thee F. Crosby/ S. Vail, arr. O. Young Soloists: Hannah Funston and Amber Leffel Mary Did You Know? M. Lowry/ B. Greene, arr. F. Bock I Will Sing With the Spirit J. Rutter A Gaelic Blessing J. Rutter For Good (from Wicked) S. Schwartz, arr. M. Huff Soloist: Hannah Taylor Chrysalis Women’s Choir Andrea Richardson, piano Zion’s Walls A. Copland Hark, I Hear the Harps Eternal arr. A. Parker O My Luve’s Like a Red, Red Rose R. Bums/ R. Clausen Ryan Drenth, piano Tyler Hubbell, cello The King of Love My Shepherd Is Irish Tune arr. M. Wilberg Your Grace Still Amazes Me S. Craig/ C. Harrington Grace Alone arr. C. Kirkland/N. Woodruff Testament Men’s Choir Prof. Ryan Schultz, piano Sanctus (from “German Mass”) F. Schubert, arr. 0. Young Prof. Ryan Schultz, piano Andrea Richardson, piano I Am His Child M. Hogan He Leadeth Me M. McDonald Chrysalis Women’s Choir Testament Men’s Choir Prof. Ryan Schultz, piano Chrysalis Women’s Choir Prof. Kay Welch, director Kendra Cable ❖ Kaiti Carlson ♦> Katlynn Chambless Ashley Desrochers ❖ Whitney Foster *>Hannah Funston Caitlin McCormack ❖ Ariel Morgan ♦> Ashley Naffziger Bailey Zeilenga ❖ Flannah Taylor ♦> Blaire Toms ❖ Kelsey Sowards Brooke Bellamy ❖ Lisa Boaz ❖ Sarah Cochran ❖ Becca Crofoot Jackie Freed ❖ Laura Holdham ❖ Lauren Leidahl ❖ Bethany Meyer Anna Winters ❖ Kerry VanSyckle ❖ Bekka Rogers ❖ Meg Dowell Jordan Hedge ❖ Shannah Hoekstra ❖ Hannah Jacobson Rachel Lenger ❖ Heather Marrs ❖ Amanda Price Kyrstin Stephens ♦> Kristin Rinehart ♦> Nicole Sloan ❖ Mario Smith Kristina Richardson ♦> Cierra Andecover ❖ Marijke Bakker Bethany Chatman ❖ Rachel Domaoal ❖ Jenelle Fields Amber Leffel ❖ Catie Young ❖ Amy Ratliff ❖ Ellen Miller Testament Men’s Choir Prof. Ryan Schultz, director Ryne Alberico ❖ Jon Cable ❖ Ryan Drenth ❖ Ben Geeding Tyler Hubbell ❖ Alex Kellogg ❖ Zach Kohlmeier Michael Larson ❖ JefMaslan ❖ Matt Wallace Jeremiah Bower ❖ Derek Corcoran ♦> Antonio Funches Jeremy Huish ❖ Monty Larcom ❖Geoff Sauter Thank you for turning off cellular phones and for refraining from the use o f flash photography. Upcoming Events Friday, April 15, 2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu AJOLIV ET Department I of Music \W NAZAR £NE V 1 UNIVER.SITY k i» iJ in < -V •'»' UPPER DIVISION HEARING RECITAL 9:30 a.m. Friday, April 15, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Etude Op. 10 No. 3 F. Chopin Lento Sonata Op. 10, No. 1 L. Beethoven Adagio Molto Prelude No. 1 (from Six Preludes) R. Muczynski Vivace Chris LeFevre, piano Concerto in C Major W. A. Mozart Adagio non troppo Concerto in D Minor T. Albinoni Allegro Joy Matthews, oboe Kate Hausken, piano Concerto in G Major W. A. Mozart Rondo Sonatina E. Burton Rose Hall, flute Dr. Jeff Bell, piano Madchen sind wie der Wind F. Loewe Nina G. Pergolesi Time After Time (from It Happened in Brooklyn) J. Styne Wesley Taylor, tenor Ben Cherney, piano Romance Op. 94, No. 1 R. Schumann Adagio K508 A W. A. Mozart Katelyn Dunkman, oboe Desiree Hays, piano Widmung R. Schumann The Lord is My Shepherd H. Smart with Caleb Carr, tenor Sebben, crudele A. Caldara Some Enchanted Evening (from South Pacific) R. Rodgers James Larcom, baritone Dr. Jeff Bell, piano Sonata BWV1031 J.S. Bach Sonatina K305 W. A. Mozart Nicole Stone, flute Desiree Hays, piano Once Upon a Time (from All American) C. Strouse Nur wer die Sehnsucht kennt F. Tchaikovsky Lydia G. Faure Geoff Sauter, baritone Dr. Jeff Bell, piano Thank you for turning off cellular phones and for refraining from the use of flash photography. Upcoming Events Friday, April 15, 2011- Harp Ensemble Concert Kresge Auditorium- 7:00pm Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu ONU HARP STUDIO RECITAL Featuring ONU Harp Ensemble Dr. Charles Lynch, director “■w0 7:00 p.m. Friday, April 15, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation The Little Fountain Samuel O. Pratt Rachel Fisher Cambria Thomas Solo for Harp Cesar Franck Jennifer Wilson Fire Dance David Watkins Emily Heinz The Minstrel’s Adieu to His Native Land John Thomas Andante Variation I: Molto Legato Variation II: Leggiero Andante Cambria Thomas Vers La Source Dans La Bois Marcel Toumier Rachel Fisher Dusk in the Sandias Gail Barber Mexican Serenade Gail Barber ONU Harp Ensemble Rachel Fisher ❖ Emily Heinz Cambria Thomas ❖ Jennifer Wilson Dyades Bernard Andres Andantino Allegretto Allegretto ONU Harp Ensemble Nearer, My God, To Thee Lowell Mason arr. Shari Pack ONU Harp Ensemble Tliank you for turning off cellular phones and for refraining from the use of flash photography. Upcoming Events Tuesday, April 19, 2011- Band Concert Kresge Auditorium- 7:00pm Tuesday, April 26, 2011- Jazz Band & Concert Singers Concert Kresge Auditorium- 7:00pm Thursday, April 28, 2011- Chamber Ensembles Concert Kresge Auditorium- 7:00pm Saturday, April 30, 2011-Commencement Concert Kresge Auditorium- 7:00pm **The list above does not include daytime performances. Please consult the Music Office for a list of daytime performances. ** Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu Dr. Neal McMullian, conductor Prof. Ryan Schultz, conductor 7:00 p.m. Tuesday, April 19, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Variations on a Korean Folk Song John Barnes Chance Country Gardens Percy Grainger Greensleeves Traditional, arr. by Alfred Reed Energetikos Gary P. Gilroy Concert Band Moonlight Sonata L. Beethoven/ arr. B. Gottlieb and M. Abbott Percussion Ensemble Bryce Parker *> Andy Barnard ❖ Melody Abbott Dustin Southe ❖ Seth Wenzelman Blues and Chaser Jared Spears Percussion Ensemble Linnea Orne ♦> John Neuman Rebecca Wilkinson «> Joanna Knepper Sunrise at Angel’s Gate Philip Sparke Colorado Peaks Dana Wilson Sleep Eric Whitacre Conducted by Neal Woodruff Zion Dan Welcher The Gum-suckers March Percy Grainger Wind Symphony Thank you for turning off cell phones and for not using flash photography NOTES Variations on a Korean Folk Song - John Barnes Chance first heard the melody Arirang while serving in the U. S. Army in Korea. The tune is a pentatonic melody, using only 5 notes. The opening statement of the melody begins in the low register of the clarinets and grows to include the full band. The first variation is marked Vivace and includes rapidly running fragments from the melody. The second variation is a quite lyrical setting. The third variation is Allegro con Brio and is set in a compound meter. This moves smoothly into a sustained statement of the melody followed by the final variation, Con lslancio, meaning with impetuosity, and includes a wide variety of percussion. Country Gardens - Grainger originally wrote this playful piece for piano in 1918 as a present for his mother. He later scored it for orchestra and in 1953, he scored it for band. The band arrangement contains a number of odd occurrences, not unusual for Grainger! At several points, there are some very loud brass chords and some raucous glissandos in the brass at unexpected places. There are even several “wrong notes” that were written in. Greensleeves - This traditional folksong dates back to 16th century England. Originally a love song, alternative lyrics have been used for the tune, including “What Child Is This?” and a variation that was used in the 1962 film How the West Was Won. This arrangement by Alfred Reed has long been a standard in the wind band repertoire. Energetikos - Energetikos is a wildly energetic and rhythmic piece that gets its inspiration from the intensity and life energy of Southern California. The title of the work is Greek and comes from the word Energein which means to be active. Dr. Gilroy is well known for an intense energy in much of his music. He often produces this musical energy through ostinatos along with interesting and sometimes unpredictable rhythmic involvement. This three part piece begins fast, moving to a slow, reflective section. The final section returns to the patterns of the opening with some rhythmic twists along the way. Sunrise at Angel’s Gate Sunrise at Angel’s Gate was commissioned by Colonel Finley Hamilton, conductor of the United States Army Field Band, and first performed by them in March 2001. Philip Sparke provides the following composer’s notes: “In October 1999, I was privileged to be invited to Flagstaff, Arizona, to take part in the centenary celebrations of Northern Arizona University. The University is a two hour drive from the Grand Canyon, so a visit was compulsory! It’s really not possible to describe this amazing natural phenomenon- it’s just too big. You can’t even photograph it effectively but it undoubtedly leaves a lasting impression on anyone who visits it. Sunrise and sunset are the best times to view the Canyon, as a sun low in the sky casts shadows that give depth and form to the vast panorama. Angel’s Gate is one of the many named rock formations on the northern side of the Canyon and in this piece I have tried to depict the sights and sounds of dawn there, birdsong in the early morning sky and the gradual revelation of the Canyon itself as sunlight reaches into its rocky depths. The faster central section depicts the arrival of the tourist buses, which run back and forth along the Southern Rim, and towards the end of the piece, to the sound of a tolling bell, we are reminded of the dangers that the beauty of the Grand Canyon so cleverly hides.” Colorado Peaks “Because this piece was commissioned by an ensemble in Colorado, 1 wanted the piece to make some reference to the awe-inspiring Colorado Rockies. The work is not, however, a depiction of their majesty. Instead it suggests a person’s relation to them via a rugged and persistent climb.” Dana Wilson S le e p Sleep began its life as an acapella choral setting, with a magnificent original poem by Charles Anthony Silvestri. The choral-like nature and warm harmonies seemed to call out for the simple and plaintive sound of the winds, and I thought that it might make a gorgeous addition to the wind symphony repertoire. Sleep can be performed as a work for band, or band and mixed chorus. Z io n The composer writes: Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called “Three Places in the West.” As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I’ve had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveller is constantly overwhelmed by towering rock walls on every side- but it is also a place with a human history, having been inhabited by several tribes of Native Americans before the arrival of the Mormon settlers in the mid-nineteenth century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and through their tragic losses in Missouri. They saw Utah in general as “a place nobody wanted” but were nonetheless determined to keep it to themselves. Although Zion Canyon was never a “Mormon stronghold,” the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that 1 was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: “Zion’s Walls” (which Aaron Copland adapted to his own purposes in both Old American Songs and The Tender Lands) and “Zion’s Security," which I found in the same volume where Copland found "Zion’s Walls”- that inexhaustible storehouse of the nineteenth-century hymnody called “The Sacred Harp.” My work opens with a three-verse setting of “Zion’s Security,” a stern tune in F# minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the “city of our God" they hope to establish.” This melody alternates with a fanfare tune, w'hose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on an alternating meter scheme. This pauses at its height to restate “Zion’s Security” one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion- until the sun warms the ground sufficiently for the second hymn to appear. “Zion’s Walls” is set in 7/8, unlike Copland’s alternating 9 and 6 pattern (the original is quite strange, and doesn’t really fit any constant meter) and is introduced by a warm horn solo with low brass accompaniment. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic “Zion’s Walls” finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland. “The Gumsucker’s M arch” The composer writes: “Gum-sucker” is an Australian nick-name for Australians born in Victoria, the home state of the composer. The eucalyptus trees that abound in Victoria are called “gums,” and the young shoots at the bottom of the trunk are called “suckers;” so “gum-sucker” came to mean a young native son of Victoria, just as Ohioans are nick-named “Buck-eyes.” In the march, the composer has used his own “Australian Up-Country Tune” melody, written for him to typify Australia, which melody he also employed in his “Colonial Song” for two voices and orchestra (root form), or for military band. Concert Band Dr. Neal McMullian, conductor F lu te Clarinets (Cont.i H orn Samantha Allen Nicole Papineau Brooke Bellamy Marijke Bakker David Parsons Sam Lewis Breanne Bambrick Clara Stone Nathaniel McManus Amy Bell Ben Strait Gabrielle Metzger Nikita Brown Deidre Sheldon Chantelle Chamberlain Alto Saxophone Chelsea Diemer April Dhennin T r o m b o n e Alisha Evans Jonathan Erdahl Matt Gargiulo Aisha Foday Laura Holdham Jacob Hoskins Allison Grigus Whitney Huff Crystelle LeMay Adrienne Harris Julianna Munyon Joy MacDonald Michelle Spencer E u p h o n iu m Jean Mosey Rebekah Stewart Jeremy Atwood Taylor Nagel Sarah Whitten Peter Robinson Nicole Nootbaar Derek Williams Lindsey Johnson Bethany Rush Kayla Younglove Daniell Scheiterle T u b a Nicole Stone Tenor Saxophone Jennifer Rowley Rachel Tschetter Ashley DeVries Tim Phillips Samantha Wuske Jeremy Schooler Beth Eddy P ercu ssio n O b o e Andrew Barnard Kirstie King Baritone SaxoDhone Owen Blough Kate Wilson Margaret O’Neill Caleb Carman Derek Delgado Bassoon Trumpet Jacob Galloway Danyne Harris Ethan Barse Nicholas Holden Chris McAndrews Andy Breeden Jo Anna Knepper RaeMarie Donaldson Jake Leatherwood C la r in et Ryan Gifford Jake Neuman Zachary Cataldo Carrie Riegle Linnea Orne Caitlyn Crum Logan Smith Bethany Reed Stephanie Dillman Kim Wyman Kaleb Soller Crystal Fleck Dustin Southe Britney Marko Seth Wenzelman Brittany Nichols Rebecca Wilkinson Jamie Pickett Bailey Zeilenga Wind Symphony Prof. Ryan Schultz, conductor Flute Tenor Saxophone P ercu ssio n Diane Rankin Ian Smith Chris Field Rachel Von Arb Mike Zaring Kelly Casillas Baritone Saxophone Melody Abbott Desiree Hays Renee Runyan Bryce Parker Britney Terpstra Malik Temple Rose Hall T ru m p ets Austin Lappe Patrick Wright O boe Adam Weeks String Bass Joy Matthews Andrew Moore Tony Jacobs Katelyn Dunkman Kristen Kuzur Kerry VanSyckle P ian o C la rin ets Kyle Hance Kate Hausken Emily Martin Elise Payne H orn Tracy Van Zandbergen Brittany Harris Rachel Taylor Rebeckah Stems Michael Gorski Stephanie Moore Megan Elroy Kyle Miller April Culver Jacqueline Rose Matt Maltese Olivia Zimmer T ro m b o n e Ian Matthews Bass Clarinet Zach Kohlmeier Thadeus Kryszyn Lauren Hausken Andrea Lamontagne Mike Speer B assoon E u p h o n iu m Brianna Robbins Jef Maslan Ashley Pitzer Catie Young Alto Saxophone T u b a Lucas Sanor Josh Ring Kristin Cheney Alex Kellogg Jeremy Huish Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu featuring the ONU Jazz Band with Major Six and Concert Singers and Jazz Combo I “T'CT'- 7:00 p.m. Tuesday April 26, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Take the A Train arr. S. Zegree I Used to Know You T. Buchholz Last Night When We Were Young arr. P. Rutherford When We’re Human arr. E. Lojeski Concert Singers ***** Dizzy Atmosphere D. Gillespie Django J. Lewis Sweet Love Baker, Bias, Johnson Ali Carter, soloist Jazz Combo I ***** Opener K. Harris Smoke & Mirrors M. Tomaro Am I Blue? G. Clarke/ H. Akst Jeremy Schooler, tenor saxophone ONU Jazz Band $ >(c $ a|c $ So Many Stars Mendez, Bergman, Bergman Black Diamond R. Kirk Chicken Feathers S. Kuhn Major Six ♦ * * * * Easy to Love C. Porter/ arr. C. Young Towednack R. Curnow ONU Jazz Band $ sfc $ jjc $ On A Clear Day arr. D. Meador Concert Singers ONU Jazz Band ***** Thank you for turning off cellular phones and for refraining from the use of flash photography. Jazz Combo I Prof. Freddie Franken, director Joel Deckard, drums ❖ Jess Dillman, bass ❖ Tyson Dodd, guitar Jase Hackman, guitar ❖ Kristin Cheney, saxophone Patrick Wright, trumpet, flugelhorn Major Six Prof. Freddie Franken, director RaeMarie Donaldson, trumpet/flugelhorn ♦> Chris Field, drums Renee Runyan, alto/tenor saxophone ❖ Josh Gill, guitar Isaac Burch, bass guitar ❖ Josh Ring, keyboard Concert Singers Dr. Neal Woodruff, conductor Alicia Carter ❖ Christine Caven ❖ Taylin Frame ❖ Lillian Guenseth Gwen Holmes ❖ Ashley Raffauf ❖ Hillary Vaughn ❖ AlyssaNorden Sarah Ward ❖ Ben Geeding ❖ Chris LeFevre ❖ Seth Lowery ❖ David Rice Reuben Lillie ❖ Calley Seefeldt ❖ Andrew Nielson ❖ Blake Reddick ' ONU Jazz Band Dr. Don Reddick, director SAXOPHONES: BASS GUITAR: Kristin Cheney Sarah Marrs Ashley Pitzer Renee Runyan PERCUSSION: Lucas Sanor Christopher Field Jeremy Schooler Allyse Groover Kaleb Soller TRUMPETS: Anthony Jacobs GUITAR: Andrew Moore Jase Hackman Diane Rankin Kerry VanSyckle PIANO Patrick Wright Jamila Coker Ryan LaLone TROMBONES: Josh Ring Alex Kellogg Zach Kohlmeier lan Matthews Blake Reddick Upcoming Events Thursday, April 28: Chamber Ensemble Concert- Kresge, 7pm Saturday, April 30: Commencement Concert- Kresge, 7pm Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu 4 .1 OLIVET Department of Music \W N A ZA R EN E V I UNIVERSITY am Mf § f r A/ t CHAMBER ENSEMBLE; CONCERT 7:00 p.m. Thursday, April 28, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Jupiter, the Bringer of Jollity G. Holst/ arr. D. Bussick Saxophone Ensemble Kristin Cheney ❖ Desmond Handson ❖ Derek Williams Shannon Finch ❖ Ian Smith ❖ Julianna Munyon Jeremy Schooler ❖ Renee Runyan ❖ Margaret O'Neill Angela Reedy, director Trio No. 39 J. Haydn Andante Amanda Winkle, violin Lanae Harding, piano Allie Richmond, ‘cello Sonata for Bassoon and Piano A. Etter I. Moderately Fast II. Fast Ashley Pitzer, bassoon Dr. Gerald Anderson, piano Amazing Grace arr. J. F. Wilson Fantasy on "Hyfrydol" H. H. Hopkins Handbell Choir Amy Bell ♦> Derek Corcoran ❖ Joshua Griffes ❖ Desiree Hays Stephanie Jungles ❖ Diane Rankin ♦> Britney Terpstra Prof. Katie Nielsen, director Hope Apocalyptica Bittersweet Apocalyptica 'Nothing Else Matters Metallica adapted for ’cello by Apocalyptica Conclusion Apocalyptica ‘Cello Goodbye Quartet Benjamin Miller Katelyn Flynn ❖ Erin Evans ❖ Allison Richmond Prof. Carol Semmes, director Jubilant Synergy M. Lauf, Jr. By Kells Waters K. Via Flute Choir Marijke Bakker ❖ Desiree Hays ❖ Jamie Hill ❖ Joy MacDonald Kathryn Peugh ❖ Diane Rankin ❖ Bethany Rush ❖ Aubrey Sarna Emily Shelton ❖ Rachel Von Arb Prof. Katie Nielsen, director Suite for clarinet, violin, and piano Op. 157b D. Milhaud I. Ouverture II. Divertissement III. Jeu IV. Introduction et Final Emily Martin, clarinet Lauren Wood, violin Desiree Hays, piano Thank you for turning off cellular phones and for refraining from the use of flash photography. Upcoming Events Saturday, April 30,2011-Commencement Concert Kresge Auditorium- 7:00pm Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu I OLIVET Department of Music NAZARENE I UNIVERSITY ANNUAL featuring Student Soloists University Orchestra Dr. Neal Woodruff, conductor 7:00 p.m. Saturday, April 30, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation The Glory and the Grandeur R. Peck Joel Deckard (’13), percussion Kaleb Soller (’13), percussion Chris Field (’13), percussion Quando m’en vo (from La Boheme) G. Puccini Alicia Carter (’12), soprano Concerto in A Minor, Op.43 R. Schumann Allegro affettuoso Andrea Richardson (’13), piano Di-mois que je suis belle (from Thais) J. Massenet Jenna Dickey (’11), soprano Thank you for turning off cell phones and for not using flash photography v* AWARDS PRESENTATION v Department of Music 2010-2011 Foundation Scholarships Robert Hale-Dean Wilder Voice Scholarship The Hopkins Family Instrumental Scholarship Stephen Nielson - Ovid Young Piano Scholarship Walter B. Larsen Award for Musical Excellence and Naomi Larsen Scholarship Concerto in A Major, K.622 W. A. Mozart Rondo Emily Martin (’11), clarinet Largo al factotum (from II Barbiere di Siviglia) G. Rossini Reuben Lillie (’11), baritone Concerto in G Minor, Op.89 “Africa” C. Saint-Saens Derek Corcoran (’11), piano University Orchestra Dr. Neal Woodruff, conductor Flute/Piccolo Percussion Viola Diane Rankin Mike Zaring Tianna Frey Marijke Bakker Melody Abbott Jennifer White Desiree Hays Bryce Parker Zach Thomas Katie Hanley Oboe Violin I Amanda Luby Joy Matthews Lauren Wood* Brittany Gaffney Kate lytin Dunkman Chantalle Falconer Rachel Tschetter ‘Cello Clarinet Amanda Winkle Allison Richmond Emily Martin Caitlin Mills Brian Kosek Elise Payne Rebecca Walker Andrew Nielson Lauren Beatty Elisabeth Holaway Bass Clarinet Ann Kincaid Erin Evans Andrea LaMontagne Desiree Hays Sarah DiLeonardo Dustin Vail Ben Miller Bassoon Heidi Watson Ashley PitzerA Bass Brianna RobinsA Violin II Sara Marrs Emily Borger Tony Jacobs Contrabassoon Christine Caven Jess Dillman Dr. Neal McMullian Emily Younglove Nick Holden Jordan Cramer Horn Tika Anderson * Concertmaster Brittany Harris Lauren Brennan A Co-principal Rebeckah Stems Emily Sprik Kyle Miller Lindsey Ramirez Deidre Sheldon Madelyn Lorenz Bethany Rush Trumpet Alyssa Alt Patrick Wright Sarah Jensen Merrick Robison Emily Ohse Kayla Younglove Trombone Hope Olson Ian Matthews Claire Dana Lauren Hausken Josh Ring Tuba Alex Kellogg Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu Keith Ramsden & Harlow Hopkins, conductors Prof. Ryan Schultz, conductor 7:00 p.m. Monday, May 02, 2011 Kresge Auditorium Larsen Fine Arts Center PROGRAM Invocation Costa del Sol+ David Shaffer Immer Kleiner+ Adolf Schreiner, arr. George S. Howard Dr. Harlow Hopkins, Clarinet soloist Rough Riders+ Karl King, arr. James Swearingen Song and Dance* Richard L. Saucedo Sicilienne* Gabriel Faure, arr. Larry Clark Rag (from Suite o f Old American Dances)* Robert Russell Bennett New Horizons Band + Keith Ramsden, conductor * Harlow Hopkins, conductor Sunrise at Angel’s Gate Philip Sparke Sleep Eric Whitacre Gumsucker’s March Percy Grainger ONU Wind Symphony Ryan Schultz, conductor Chorale and Shaker Dance John Zdechlik Conducted Keith Ramsden American Elegy Frank Ticheli New Horizons Band ONU Wind Symphony Ryan Schultz, conductor ______Thank you for turning off cell phones and for not using flash photography Wind Symphony Prof. Ryan Schultz, conductor F lu te Tenor Saxophone P ercu ssio n Diane Rankin Ian Smith Chris Field Rachel Von Arb Mike Zaring Kelly Casillas Baritone Saxophone Melody Abbott Desiree Hays Renee Runyan Bryce Parker Britney Terpstra Malik Temple Rose Hall T r u m p e ts Austin Lappe Patrick Wright O b o e Adam Weeks String Bass Joy Matthews Andrew Moore Tony Jacobs Katelyn Dunkman Kristen Kuzur Kerry VanSyckle P ian o C la r in ets Kyle Hance Kate Hausken Emily Martin Elise Payne H orn Tracy Van Zandbergen Brittany Harris Rachel Taylor Rebeckah Stems Michael Gorski Stephanie Moore Megan Elroy Kyle Miller April Culver Jacqueline Rose Matt Maltese Olivia Zimmer T r o m b o n e Ian Matthews Bass Clarinet Zach Kohlmeier Thadeus Kryszyn Lauren Hausken Andrea Lamontagne Mike Speer B a sso o n E u p h o n iu m Brianna Robbins Jef Maslan Ashley Pitzer Catie Young Alto Saxophone T u b a Lucas Sanor Josh Ring Kristin Cheney Alex Kellogg Jeremy Huish New Horizons Band Flute Lisa Pratl (Alto) Andrea Baldwin Linda Rink (Alto) Angela Davault Vicki Hayes Trumpet Carrie Jones John Boyle Sarah Manuel Stephen Brown Sara Michel Gail Ferrebee Belinda Schirmer Sarah Kappel Keith Ramsden Oboe Pam Schultz Horn Clarinet Cheryl Chaney Rich Chiaramonte Shauntia Mettlin Rachel Cunningham Sue Fox Trombone Kathy Fritz Dave Godwin Sandy Godwin Dan Wheelock Linda Guinn Michael Williamson Harlow Hopkins Joe Lenart Euphonium Miller, Karen R. Bruce Greenlee Wayne Schultz Greg Long Rob Varley Bethany Wright Bass Clarinet Tuba Kathy Dahn Paul Dillinger Francisco Jones Saxophone Norman Beyer (Baritone) Percussion Edward Chinski (Tenor) Angela Chouinard Marvin Kuipers (Alto) Debbie Doliber Olivet Nazarene University I Department of Music 800-648-1463 I www.olivet.edu LI OLIVET BM NAZARENE f I UNIVERSITY DEPARTMENT OK MUSIC